It seems that, in Polish neo prog circles, as COLLAGE and its successor SATELLITE go, so goes long detached offshoot BELIEVE, and I might even add vice versa. Some time after BELIEVE's 2017 triumph "Seven Widows" came the first COLLAGE album in a quarter century, With the splendid "Over and Out", in addition to picking up where they and SATELLITE had left off, Woljek Szadowski had been listening intently to Mirek Gil's BELIEVE, and, apart from incorporating those atmospheres, got caught in the revolving vocalist saga that has dogged both groups throughout their colorful history. To close the loop for the here and now, Gil has taken lessons from the COLLAGE reunion for good and bad, and returned with a new vocalist (duh) Jinian Wilde in "The Wyrding Way". It also coincidentally begins with a 20+ minute track followed by mostly pieces in the 10 minute range from there. If you aren't confused yet, I endeavor to finish that job in the next few minutes.

The titular expression refers to the use of witchcraft and such to plot one's own destiny. Appropriately the music here is perhaps a tad more in the spacey realm than we are used to, with the virtuosic Satomi mostly occupied with keyboards rather than the violin which dominated "Seven Widows". Of course, Gil is still sizzling on expressive occasionally Frippian lead guitars and even a bit of acoustic guitar here and there, and Jinian luckily hails from the school of BELIEVE vocalists. While the rhythm section cannot ever match the freneticism of COLLAGE/SATELLITE, this is almost uniformly excellent, with only "Be My Tears" sacrificing, so to speak, some quality for message.

My two complaints are the slashing of violin bits and their infusion into the arrangements rather than soli, and this continued tendency among our cult favorites to string together concepts into overly long epics for the sake of it. For instance, "Wicked Flame" should be the centerpiece but substitutes a wall of sound for the subtle tension and intensity in its last 4 or 5 minutes. Both "Shadowland" and "Shine" more than compensate and are my pics here, though the massive opener runs a close second.

From the perspective of a student of this musical family tree, even mediocre productions are worth the time, but this is anything but. Kudos again to Mirek Gil and company, and may you and your former bandmates continue to spur each other on in spellbinding competition where we are all winners.

You know the story, Vincent Van Gogh painted his final canvas with a flock of crows raising from a wheat field, and shot himself, dying two days later. Antonin Artaud refused to call him suicidal, it was rather society, symbolized by the flock, that suicide him. Luis Alberto Spinetta, as a young reader, felt strongly this unequal conflict between artist and society, as well as the need to purge the pain caused by it. But to sell the project to his bandmates in Pescado Rabioso, that was a whole different matter. According to drummer Black Amaya, after being presented with the new material, they just left.

First Cutaia, then Lebón and finally Amaya himself, who had been on board since the very inception of the band. Left alone, and owing one more album to the Microfon label, Spinetta recruited two of his former mates in the band Almendra, plus his own brother Gustavo, and did Artaud with those same songs.

How could result, from such a turmoil, a recording in state of grace? Who knows, the songs were amazing, that helps. Working at home, with brother and old friends, that too. But in the end, there's no explanation for beauty, if true. And no need for one either, just wide open eyes and ears are required.

The cover sleeve was designed with an irregular edge, by Spinetta's request. It wouldn't fit any standard rack, because, you know, art shouldn't fit. From the edges to the inside, on the other hand, the album flows seamless, yet through very different moments. Even the acoustic songs are each one of a kind. Todas Las Hojas Son Del Viento, with tender innocence and anti-drug message. Por, almost a symbolist stream of consciousness, slipping through naked acoustic beauty. La Sed Verdadera, presumably inspired in Rimbaud, serene, contemplative, soaked in delicious lo-fi electronica towards the end. Cantata De Puentes Amarillos is the piece de resistance for acoustic guitar and vocals, but with the most amazing electric and percussive incrustations, turning it into a joyous ride, focused in the hope for a better tomorrow.

The electric element in the equation blossoms in Superchería, walking a fine line between the melodies of Spinetta's old band Almendra, and Aquelarre's rythmic drive, contemporary by then. That drive mutates at the end of the album, in the fascinatingly bouncing riffage of Las Habladurías Del Mundo. Bajan used to jumped the airwaves in different times, thanks to a graceful melody, supported by catchy drums, courtesy of Gustavo Spinetta. Can Artaud poetry be set in a cheap horror comedy scenary? Don't know really, but that is what it seems to take place in the other piece with Gustavo in drums, Cementerio Club, and it's delightful. If, besides progressive, the term art-rock can (and should) be applied to this album, that is in A Starosta El Idiota, with a rare performance in piano by Spinetta, existential lyrics, and delicious bassline in the middle section, preceded by a concrete music incursion loaded with references.

After this, García and Del Guercio resumed their day job playing drums and bass in Aquelarre, and Spinetta went to form Invisible.

A delicate record that screams "Play me loud!", and never dissapoints.

'Fragile' is a quintessential Yes album that basically sees the band in their full glory - epic, complex, lush, melodic and memorable, the album is quite deservedly seen as one of the progressive rock classics. But 'Fragile' is also a very unique prog album in many ways, while it takes as a basic template the complexity of the extended compositions on 'The Yes Album' and further challenges the conventional notion of how a pop song could be structured, as it allows the longer pieces to unfold in a very organic and controlled manner, it is in no way short on surprises and unpredictable twists and turns, incredibly versatile and eclectic, 'Fragile' can be both frantic and magical, both uplifting and introspective. The addition of shorter pieces written by each band member, however, is the ingenious magical flavor that really elevates the album and displays the various influences brought in by each band member. Not to mention how the addition of Rick Wakeman had really rendered Yes one of the most versatile and innovative quintets to have ever graced the history of rock music.

Majestically conceived and tremendously well-executed, there is some truly vibrant music on this album in the face of the four centerpieces - 'Roundabout', 'South Side of the Sky', 'Long Distance Runaround/The Fish' and 'Heart of the Sunrise'. Stretching out an idea into a piece that incorporates the virtuosity of jazz and the pomp of a classical piece, the blend of these influences with the rock instrumentation births an amalgamation of triumphant sounds that work together in a brilliant manner. A fantastic album, quite intelligently structured and highlighting not only the solo talents of the members of Yes, but also the collective force of the band Yes. Very difficult to pick a better side on an album that is virtually flawless. In brief, epic, gorgeous, and essential.

This album was released in 1969 and it has no title, but it is commonly referred to as the "Fur" album. Simply because the first word at the top of the album cover is "Fur", which is German for "For", and that is followed with a long list of names that the album is dedicated to. And no band name either, as they just went with the names of the four musicians. And who are these musicians you ask. Well, Wolfgang Dauner is the leader here, composing all but one track. He plays keyboards mostly but adds a little trombone and violin. His buddy Eberhard Weber is here on bass and cello. Both would be a part of ET CETERA, a band who released their debut in 1971.

And the drummer here is Fred Braceful who was also part of ET CETETRA, and later he would also be in EX MAGMA. The unknown for me was Jurgen Karg also playing bass. In fact on one track both he and Weber play bass. What fascinates me is that the only track on here that Dauner didn't compose was that third song called "Karg", which of course was a Karg composition. Fascinating because it's the only electronic piece on here. And Karg would drop his bass not long after this 1969 recording to focus on electronics, and becoming quite influential with his only solo release in 1978.

These four guys had already played together on Dauner's 1967 solo album called "Free Action" which was a Free Jazz record. It's also interesting to me that half of this band which included Braceful and Weber, would make an album in 1971 called "The Call". Karg and Dauner were replaced by two keyboardists, not needing two bass players this time. Again they went with their names as the band name, and we get Mal Waldron, a legendary electric piano player in the Jazz world leading the way. And speaking of legendary how about Jimmy Jackson from Pennsylvania on organ. And this is a straight-up jazz fusion album I gave 4.5 stars to. An incredible album! Jimmy has played in bands like AMON DUUL II, EMBRYO, PASSPORT and more.

Now I have to say that "Fur" is a tough one for me. Very experimental with lots of improvisation going on. It's like an extension of Dauner's 1967 record which was Free Jazz, and with a dedicated sax and clarinet player. It's interesting that that album has two drummers playing on it. Besides Braceful we get the future GURU GURU drummer Mani Neumeier doing his thing. And also Jean-Luc Ponty on violin! All playing Free jazz. Anyway, back to this 1969 album which is not for the faint of heart. Not much in the way of melody or even structure here. This is a very experimental album that one would probably want to keep in their Avant section. I wish "The Call" was on this site. They added "Fur" to Weber's discography thankfully.

The first Yes album of all-original material was 'The Yes Album' from 1971, a record that despite its confusing cover photograph, depicts one of progressive rock's legendary bands at the genesis of their creative uprising, with an extremely adventurous release packed with classic Yes tracks, and one that allowed them to begin to craft a unique musical identity and to experiment with sounds and techniques, all while preserving the essential (and quite enjoyable) key ingredients of early Yes - the majestic vocal harmonies, the textured, warm bass playing and the charmingly exploratory spirit of early progressive rock, always very uplifting and hypnotic.

An important album in the Yes catalogue, being the first one with Steve Howe and last one (until the 1980s) with Tony Kaye - both of whom do add their unique flavors to the very joyous yet complex music on 'TYA', perhaps not as lush as the albums that would come later but incredibly mature and occasionally quite challenging, certainly Yes had crafted a tremendous blend of symphonic rock with pop and psychedelic influences, topped by the otherworldly vocals of Jon Anderson and his imaginative lyrics. The music is complex yet enjoyable and splendid, uniquely combining a sense of freedom and an aspect of virtuosity that would be developed even further on later releases. There is only a hint of the musical pomp that Yes is now recognized for - just hear the splendid sounds of 'Yours Is No Disgrace' or 'I've Seen All Good People', classic tracks on a classic album.

The Dillinger Escape Plan went further on with their experimental side with the release of their third studio album 'Ire Works' in 2007, an album that is as menacing as it is gripping and intense. Accomplishing a virtually perfect mixture between the raw, heavy and energetic playing of their earlier releases, and the more complex, eclectic side of their music, the one that could probably be seen as the metalcore rendition of jazz fusion - the mixture of these seemingly incompatible worlds is 'Ire Works', an adventurous and unorthodox heavy album that takes in strong influences from alternative and electronic music.

The album definitely contains some of Dillinger's best material, both in terms of complexity and aggression on the one hand, and stylistic diversity and experimentation, on the other. Playing around with sound design and armed with an impeccable sense of groove, the band also deliver some very memorable choruses in what turns out to be some of their more "commercially acceptable" songs, so to say. These would, of course, be 'Black Bubblegum', 'Milk Lizard', 'Dead As History' and the closing track 'Mouth of Ghosts'. Puciato shines as a great metal vocalist with a very fine range, while Ben Weinmann allows himself to jolt around with a variety of textures and techniques; the album features several shorter tracks that are quite uncommon yet technically impressive and obviously well-constructed in the studio. A great listen all throughout, some of the band's most eclectic material, and all this on an album whose cover uncannily resembles that of 'Dark Side of the Moon'.

A Musical Rollercoaster

Not for the faint of heart, as they say. Modern RPI enthusiasts Altare Thotemico released their first album in 2009 to some ProgArchives commotion, and they've been building on that creative success ever since. Now three albums into their catalog, they are clearly carrying the torch for RPI (and passionate music, in general) into the modern era. Never static or predictable, they have been evolving quite dramatically with each release. The debut album had some saucy tendencies and bold jazzy leanings, but the overall theme seemed to be paying homage to the 1970s classic RPI scene. On their second album from 2013, Sogno Errando, they changed personnel big time and actually dropped all guitars. The result was a hard shift from the first album into a much jazzier terrain led by piano and sax as lead instruments. Fast forward to 2020 and there are more significant line-up changes afoot. Guitars are back in a big way. Fresh into a global pandemic, Altare Thotemico returned with Selfie Ergo Sum, perhaps their wildest ride yet.

On the third album, AT retain their ability to appreciate the masters like Banco and Area while occasionally toying with the metal tendencies of bands like VIII Strada, but they are not copying anyone else's blueprint, classic or modern. This band marches to the beat of their own drummer. The only constant in their now decade-plus existence is the voice, poetry, and dynamism of Gianni Venturi, one of the finest vocalists on the current RPI landscape. He can pull off all of the many shifting gears with ease, the operatic and bold, the soft and warm, the spoken, the occasionally maniacal. He surrounded himself here with new members Agostino Raimo, Giorgio Santisi, and Filippo Lambertucci (guitar, bass, drums respectively). Finally, new keyboardist Marika Pontegavelli also sings, so we now have a female voice as a collaborative partner to Venturi, which opens up some exciting and original new avenues across several tracks. Her vocals are often inventive and effective additions rather than just having two people trading off song by song. Emiliano Vernizzi and Matteo Pontegavelli bring the brass to round out the line-up.

Selfie Ergo Sum can sometimes feel as disorienting as playing paintball at night while you're baked. Incredible adrenalin rushes are followed by craziness and then hiding out, breathing heavy, and calming down for a bit until it starts again. The first track has a melodic but very heavy edge without being actual metal, of course. "Game Over" has this call and response between Gianni and Marika that feels a bit like a musical send-up on the TV show "Killing Eve." Wild stuff. Only three tracks deep is a knockout moment called "Schopenhauer," a 9-minute mélange of different atmospheres, most notably to me were the long spacy sections with lovely nonverbal vocals, plaintive piano, and effects. Venturi is so well recorded here, his stunning voice alive in the room with only piano behind, as Marika's voice and Agostino's reserved leads soon filter in. Great ambiance. The first three tracks are such an incredible mind-blow. A special shout to the beautiful acoustic guitar playing in "Ologramma Vivo" as well. Everyone's performance on this album is all the more dynamic and dramatic because of how well the tracks are assembled, recorded, and mixed.

It is not until track four, the gorgeous "Madre Terra," that we have a breather so to speak. Every track just keeps introducing new goodies and ideas to explore. Now, one could criticize the overall album for being haphazard or just too "all over the map" for its own good, but that's always been the personality of Altare Thotemico. This is a "throw everything at the wall" band and, in my opinion, it has mostly worked for them. There are so many thrills to the proceedings that you'll eventually trust the process. You eventually realize that the chaos is the point, is cohesive, and actually sets up the more traditional moments to shine with equal appreciation. There is a theatrical flair. There are some unusual choices hidden around the corners. Confidence abounds (at a time when the world needed it.) At times I'm even reminded of what a modern-day, updated Opus Avantra template might sound like. So, very highly recommended indeed. Had I made a "best of 2020" list, this would surely have made my list that year. But please don't play this album when you're distracted. Make sure you spin this when you've got the time to immerse yourself into it and give it the same attention you would watching a live performance. I certainly hope we've not heard the last of this band.

God's gift to Big Big Train and Beardfish founder, Rikard Sjöblom, returns from his self-imposed exile upon British soil. In 2015 he abandoned his home country and Beardfish mates to join the British prog masters, immediately elevating them to one of the planet's finest crafters of traditional progressive rock. Something has prompted him to resuscitate his old band. Prog World should stand up and give him a standing ovation!

1. "Ecotone" (4:30) sounding a lot like a Guy Manning song, the calm, pastoral sound palette and musical arrangement over the first 90 seconds is unexpected, but then tensions start to mount with bass and female vocals (the latter courtesy Amanda Örtenhag) but the band stays the original course: continuing to propel this remarkably-Guy Manning-like song forward. There are several creative/interesting tangents along the way showing compositional maturity but ultimately this is nothing earth-shattering. (8.875/10) 2. "Out in the Open" (20:33) now this is the Beardfish we've come to know and expect: demanding instrumental performances of sophisticated time- and thematic-shifting When Rikard's singing joins the music, it reconfirms the fact that Rikard's less-than usually-processed voice has aged. Still, this is the kind of widely-dynamic, shape- and mood- shifting prog that Prog World needs and expects from one of its 21st Century leaders. Though I like and appreciate the more complex and angular sections of music, I'm surprised at how much I like the softer, more pastoral TFK-like passages (like in Part 3). The quality is top notch but the spirit (the conveyance of joy and enthusiasm) is a bit lacking-- as if parts are a bit forced (as if by expectations, outside and inside) or serving to check off certain boxes. Above all, however, it just feels good to have a band of such competent musicians and composers back offering true prog to the world. (36.5/40)

3. "Beating Hearts" (11:01) opening with a 38-second overture from a string quartet, the heavy rock version ensues thereafter, with heavily-distorted "old Rock" instruments on every wing. At 1:48 a turn in direction unveils an acoustic palette for the following vocal passage. Electric guitar is very present. In the fourth minute the string quartet rejoins in support of the current motif. Interesting! Manning and Nektar-ish at the same time. As other reviewers have pointed out, the changes in motifs on this song are quick and sometimes startling, never expected--they come so fast! And each motif seems quite stark in its difference from the previous one(s). Definitely an interesting epic. Bass player Robert Hansen is rock solid throughout while guitarist David Zackrisson has some real moments of incandescence. Heck! Rikard's emotional power vocals even shine! I do, however, like best the way in which the string quartet was/is woven into the mix, sometimes on their own, sometimes woven into the mix with all of the folk rock or heavy rock stuff. (17.75/20)

4. "In the Autumn" (5:58) a powerful song that has a distinctive Southern Rock feel to it (not unlike those of The ALLMAN BROTHERS and Jared Leach's GHOST DISCIPLINE) with an uber-talented Sarah Hoefer-sound-alike Amanda Örtenhag stepping up to the front in a commanding performance. Other than the vocal and guitar displays, this is not that great of a song. (8.75/10)

5. "Ecotone (Reprise)" (0:43) reverb-drenched keyboard interlude. What for? (4/5)

6. "Torrential Downpour" (8:29) more Southern Rock, this time a little heavier. The music is less sophisticated, less dense and intricate than the Beardfish music of old. While listening to this, I hear BON JOVI, IRON MAIDEN, YES, NEKTAR, and many others. (17.625/20)

7. "Ecotone - Norrsken 1982 Edition" (Bonus Track) (6:13) a re-mastered version of the original Ecotone from way back in 1982.

Total Time 57:27

Having listened to the album through and realized how the opening song was actually a remake of one of Rikard/the band's oldest songs (from 1982), I can well imagine that the making of this album was spattered with many such trips down memory lane.

B/four stars; an excellent album for any prog lover to try out. It's good to have Beardfish back in the arena.

Under normal circumstances, I wouldn't be hyped for a new Opeth album. Sure, I'm a fan of the band, and I'll still check it out when it comes out, but if you were to tell me in say 2022 or 2023 that Opeth was making a new album, I wouldn't really mind. This, on the other hand, had me constantly refreshing YouTube throughout all my breaks in between classes to see if it was uploaded early. I had incredibly high expectations for this album, especially seeing two certain special guests that I'll get to soon, and also the fact that this was the first Opeth album with actual Death Growls in over a decade. And I was not let down in the slightest. Not only did The Last Will and Testament exceed my expectations, it blew them out of the water. For my money, this record stands next to Blackwater Park, Still Life, and Ghost Reveries. The perfect mix between complex progressive rock, gloomy death metal, and somber electric ballads made such an incredible listening experience for me, and the overall production and sound quality are top notch. After all these years, Michael Åkerfeldt's voice is still one of the greatest in his musical field, and he masterly pulls off both clean and growling vocals. For the whole personnel, it includes Michael Åkerfeldt on vocals and guitar, Fredrik Åkesson also on guitar, Martin Mendez on bass, Waltteri Vayrynen on drums and percussion, and Joakim Svalberg on keyboards. As for the special guests, Mirjam Åkerfeldt and Joey Tempest appear as backing vocalists, while the one and only genius behind Jethro Tull, Ian Anderson, appears on flute, backing vocals, and spoken word. Apart from Ian, the other important guest I would like to mention is Dave Stewart, who has helped write music for Egg and has written substantial and excellent material for Hatfield and the North and National Health in the past. As for the concept behind the record, it's about a wealthy post-World War II patriarch who dies and leaves his will to his daughter, revealing unknown secrets about the family in doing so. Originally, it was hard for me to find the real meaning (I couldn't really understand some of the vocals, and I didn't want it spoiled through reading the Wikipedia page or going through interviews), but after repeated listens, I found the true concept.

The album opens with the echoing footsteps in the background of §1 (Section 1), a series of six other songs of similar titles that would continue throughout the album. The emptiness within the music is broken by a sudden hauntingly coherent yet uncanny beat, with a burst of crushing guitar flowing into the song. When Michael starts to sing, he once again proves that he is, and will always be, one of the top death growlers to ever live. Normally I'm not really into death metal, but Opeth is such a good band, and there is something so outstanding about Michael's performance. You can feel absolute horror and perfection within the now ever-changing song structure, with it displaying passion, distress, and fear all in one song. In true Opeth fashion, they play this gruelingly incredible music for a couple minutes before making a complete stop and transition into a lush orchestral performance. This section continues until the songs end. It is evident that this album will be nothing like what the band has been putting out for the past decade, and I believe §1 will go down as one of Opeth's best album openers.

§2 continues the orchestral sound from §1 into the opening before immediately jumping back into the death metal aspects. This one is a bit more on the death metal side of the scale than the progressive death metal side, but it's still full of weaving progressive elements. I would also like to mention that the band has these incredible dynamics between growls and clean vocals, making it just the right amount of regular singing for a normal progressive rock enjoyer. The next section is where the one and only Ian Anderson steps in to narrate the story. Another note I would like to add is that I think the band made a genius choice to get Ian on this album, not only because he's a big star within the community but also because his vocal style fits perfectly for the post-World War I era. Moving on, the band goes through some more chilling sequences of dynamics and a second Ian Anderson narration bit, with the keyboards and mellotron adding a lot to the overall feel. This wraps up §2, proving yet again that this will be an incredible landmark for the band.

The next track on the record, §3, is the shortest song on the album and the first with only clean vocals. It opens with a groove that I found similar to The Leper Affinity, but without the death growls, and it includes a couple of breakouts within this area. Because of the death aspects of the song being released, the overall progressive material has a lot more room to breathe. It flows into technical playing and strange tempos and time signatures as Michael provides an incredible deep voice in the background. The song keeps on evolving into entirely new songs within a couple of seconds of every one of these smaller compositions, making it a true staple of the progressive rock and progressive metal subgenre. The song doesn't fade out into quiet measures however, and dies at the peak of this experimentation.

§4 opens with a heavy and jazzy beat that returns some of the death metal styles and much more gloomy music that continues at a progressive pace, completely changing everything in the song in a matter of seconds, and landing at a short yet sweet folk section that easily glides into a new rhythm that sounds similar to early Jethro Tull. This Jethro Tull feel is also helped out by the flute by Ian in this song. It gradually rises, adding more death growls over time and getting heavier and louder. It grows until it reaches a full climax and immediately dies out into silence. This one goes by a little faster than I thought, despite it being seven minutes. This also brings up the one problem I have with this album. The reintroduction of the death growls into the band just makes their music sort of blend together. If a track isn't a major standout to me, it just sounds kind of bland.

Moving on, §5 begins with a lovely orchestral piece that gets interrupted by a bombastic drum blast that evolves into sheer progressive expanse. I also must add that this song perhaps has the most impressive drum technicality in the entire album. The vocals make the song feel even more decrepit and old and masterfully captivate the listener in the story with this feeling. The band continues this jam session vibe of the song until ramping up the intensity and returning to the darkness of older themes on this record. This bleeds into an almost ambient feel, with Michael's singing turning more echoey and distorted. The instrumental bits after this are absolutely insane and chaotic, culminating in a gloomy, clean vocal area that roughly continues until the end of the song but with continuing dynamics in the singing style.

§6's opening is similar to Molotov 1502 before being blown away by another rapid fire drum sequence. The next thing that comes can be described as vocal jazz combined with progressive metal; that actually somehow makes a good combination. Opeth turns to the more death metal aspects pretty quickly after this however and engages in performing some material similar to some of the earlier days in the between Still Life and Watershed. The guitar solo also sounds like something from the 80s with its sound and speed within the notes, which could be both a good thing and a bad thing depending on who you talk to, but I generally think it's a cool one. This extends to the end of the song, with it closing out with a soft and mellow riff accompanied by a lush noise in the background.

The last one of the paragraph songs is §7, which opens again with a drum part that is followed by the rest of the band joining in. This song is more of a slow burner when it comes to growing into Opeth's traditional death metal sound, but it's still an enjoyment. Ian Anderson returns to narrating in this song again, with the low piano adding even more of a touch to his low and old voice. The guitars in the next section where they kick back into the heavier material sound similar to John Petrucci, and to me, it sounds like something they'd do around 1999 to 2005. I must add that the keyboard solo is lackluster, though. The heavier stuff in this piece of the song, though, is more calm, complex, and slow, while still retaining the whole metal concept. Apart from Michael interrupting the song with a chorus of what sounds like only his voice, that pretty much concludes the song.

The album closes with the much more somber song A Story Never Told. It begins with a melodic and twisted guitar riff that sounds almost nothing like anything on the album. A short break through with the rest of the band is followed by a soothing piano number and Michael's absolutely beautiful, clean vocals. The band goes back into playing all together again, only briefly interrupted by more piano work. The guitar solo at the end though is just perfect and really embodies all this emotional power that has been building in small crevices around the album. The guitar solo continues until a slow fade out that wraps the album up perfectly and concludes another masterpiece by Opeth.

In conclusion, this album is a technically heavy and progressive masterpiece. After a string of 3-4/5 albums, Opeth is back to making some of the greatest in the genre. As much as I love the new Alphataurus album, without a doubt I can say this is the best record of 2024. From it's high progressive nature, returning death metal styles, and the gorgeous crescendo that is A Story Never Told, this is tied with Blackwater Park as my favorite Opeth album and will most likely go down in the genre's history as one of the greatest progressive death metal albums out there. This is an absolute beast of an album that deserves a 5/5 in every way.

It doesn't get much better than HATFIELD AND THE NORTH. So of course fans have been drooling for more after pretty much having only those two studio albums to enjoy over the years. The "more" came in 2005 with the release of "Hatwise Choice" a compilation of mostly live tracks and I believe one demo. These tracks were taken from the period of 1973 to 1975, a time when the HATFIELD's were a gigging band. Pip Pyle picked and assembled these tunes, and their four stints on the BBC with John Peel are a focus, but the other live recordings take up roughly half of this almost 70 minute record.

In the liner notes they mention that this recording is dedicated to the memory of the irreplaceable John Peel. Of course Peel is thanked in these notes as well, along with Robert Wyatt and others. But I like the thanks to "Alister at the pub in Southall." Almost all of these songs have been re-titled making it fun to find out what the original piece was called. The tracks seemed stripped down really, and more raw. They let their hair down, as opposed to the two studio albums where every note seems to have it's place. Both studio albums could not be more perfect.

This reminds me of how ANGLAGARD sought perfection in the studio, but unlike the HATFIELDS they also sought perfection with their live recordings. The latter was not something that HATFIELD AND THE NORTH strove for. You could say we get a more immature version of the band here on "Hatwise Choice". Yes their hair is down. No Northettes, or incredible guest appearances like on their two studio albums. The sound quality here varies. A few aren't that great but most are very good. A lot of these tracks are quite short as well.

So while this all sounds familiar, it also sounds fresh and different. This is called "Volume 1", and the following year in 2006 they would release "Volume 2", a second compilation album they called "Hattitude". I much prefer the studio albums to these two compilations, but "Hatwise Choice" really is an essential release for Canterbury fans.

Did you ever think that The Amazing could make their effects-drenched sound even more lush? Or that they would have ever made female vocals to so prominent in their mix? Or that they would ever resort to using cheap old computer drum machine sounds instead of Moussa's jazz-nuanced batterie? Who ever thought that music that was already so lush could get even more lush?

Here on Piggies they're reaching the for effects levels used by The Cure or Robert Fripp, OMD or Robin Guthrie's Cocteau Twins (or the whole 4 A.D. label!), Nick Laird-Clowes' The Dream Academy or the McAloon Brothers' Prefab Sprout, Steve Kilby's The Church or Bauhaus/Love And Rockets! It's atmospheric psychedelia taken to Elysian extremes. But it's good! Christoffer Gunrup's lyrics have never been more poetic: scaled down to minimal presence, they seem to pack more of a punch. Not much in the way of instrumental prowess put on display here, it's all about the mood: the most beautiful ambivalence humans can produce with music.

Favorite songs: The Cure-like "Figurehead," "Piggies," "Last Stand" and "Through the Cracks" (the two songs nearest to the band's old style), and "Cinnamon" (with the Robert Fripp guitar and female choir vocals), and the Dream Academy-like "I Think I Found a Way."

Though this is less a prog album than any the band has done--reviving more of the 1980s Goth-glam music or the 1990s heroine trippie music of The Cowboy Junkies or Portishead--it is an album that I enjoy more with every listen. Still, I miss the way the band would jam at the end of every song back in their early days.

The Quebec duo of Dionne(drums) and Bregent(keyboards) released to very good albums in the mid seventies. In fact both will get a lot of consideration if I get a chance to do my "best of" Electronic list. But before those back to back releases in 1976 and 1977, Bregent had released an album in 1973 with his brother Jacques who actually wrote and produced the album I'm reviewing today. But back in 1973 their idea was to take the lyrics of some of their favourite poets and make an album out of it. We get the dramatic and sometimes spoken words of Jacques to the music that his brother created which was often electronic and orchestral.

So after the duo of Dionne-Bregent called it a day after their second album, the Bregent brothers reunite to make a followup album to their 1973 debut. The dates attached to these songs are from 1970 to 1977, but by far most are from 1972. We get some different lineups on these tracks. Like their debut the vocals dominate, and often in a theatrical manner, but there's spoken words as well. The focus, like on their debut, are the lyrics of poets.

The bombastic opener and the ballad-like tracks that follow are not my thing at all. There are a couple of tracks though that made an impression on me beginning with "Les Mouillures" for that haunting atmosphere, but my favourite is "L'intersection" for that zeuhl flavour out of nowhere. And how about the female vocals and that ripping guitar. The drumming and guitar are outstanding on here by the way, but this is a very inconsistent album in my opinion. And not close to the quality of the Dionne-Bregent records.

By the way Dionne is on that short ninth track which was nice to hear. The cover art is the best thing about this album, and I'll stick to my two Dionne-Bregent recordings. And lastly, not knowing French certainly doesn't help me here when the lyrics are so important and the focus.

Closely related to the most commercially digestible and massive music, the producer and keyboardist Jem Godfrey decides to move out of his comfort zone and ventures down more challenging paths, very much connected to modernity, based on the enormous possibilities that technology already offered in the recording rooms in the 2000s. To this end, he summoned renowned musicians from progressive rock bands to bring them together under the Frost* umbrella and release "Milliontown" (2006), their first album.

"Milliontown" is a refreshed take on neo-progressive, at times furious and muscular, at times calm, at times electronic, but always determined and intense. From the excellent "Hyperventilate", a development that goes back and forth between the instrumental overflow and Godfrey's slow piano notes, the album's proposal goes beyond the imaginary boundaries of the genre, and brings together elements from other musical trends such as nu-metal, although more domesticated in the hurried "No Me No You", the translucent and watery simplicity of "Snowman", or the industrialised pop of "The Other Me".

But it is in its final stretch where the work shines with special brilliance, with the exquisite guitar solos of John Mitchell (Arena/It Bites) supported by the tangled industrial and atmospheric arrangements of Godfrey's synthesizers in "Black Light Machine", and above all in the suite "Milliontown", a massive and excellent progressive display divided into seven sections with restful and hypnotic episodes such as 'a) One Underground', nods to Dream Theater's progressive metal in 'b) Abracadaver' and 'd) Core', digitised and intriguing vocals in 'c) The Only Survivors' and 'e) The Chosen Few', and an epic instrumental display for 'f) Two Underground', sustained by the solid rhythmic base built by the experienced John Jowitt (IQ) on bass and Andy Edwards (also IQ) on percussion, which concludes the vigorous suite. Simply unmissable.

As is sometimes the case with supergroups, expectations can be high and the results sometimes fall short of the presumed levels of quality. Fortunately, this is not the case with Frost*, "Milliontown" is a very good and promising debut album.

4 stars

Two albums in less than a year! My goodness, Mr. Masson is motivated to say the least. The rather resplendent "Echoes of Albion" was release on February 10, 2024, with a triumvirate of massive pieces well into the double digits that got the full five-star review treatment, without any hint of doubt or apology. "The Visitor" ventures out into a more electronic and I daresay, somewhat gloomier realm, as the Celtic beauty has been now replaced with a somewhat more bruising avenue and much darker substance. According to my observations over this period, I guess when a few decades of unchecked apathy turns slowly into extremist irrationality, the price one must pay is to get, willingly or not, ready for the new world of the upcoming AI generated wilderness of expertly algorithmic deceptions. Yes, children of the universe, the word "why" is about to be deleted anytime now soon, due to an eventual lack of time allotted to such an ineffective premise. There is even talk of ending book publishing and thus reading, because of the negative pollution it provides (mainly the dust gathering on the dilapidated shelves). We also can see Love being rapidly replaced by endless and automatic likes. The good news is that the patented massive epic style is now firmly entrenched as this album has only four tracks, ranging from the 21.14-minute opener "Helvetia" to the finale "Spered Hollvedel", lasting an orderly 8.26 minutes. An hour of smoulderingly intense music is on display.

"Helvetia" is the original Latin /Roman name of the tribe that lived in the area what is today Switzerland, and the cinematographic treatment given to this gorgeous Alpine enclave is expertly composed by Colin Masson, who inserts a colossal number of electronic keyboards and synthesizers in building up the arrangement to celestial heights, with peaks worthy of the Matterhorn, Eiger, Jungfrau or Dufourspitze. The icy beauty of the interweaving melodies is a testament to the inspiration that pretty much every square inch that the Helvetic Confederation can offer. Windswept and echo-laden sceneries, with edelweiss sprouting from the glacial ridges, cowbells in the distant valley, this clean and prosperous essay in musical dynamics is perturbed by Masson's energetic electric guitar rides, emerging from endless tunnels of luxuriant sound. When the ambient, nearly Vangelis-like excursions into introspection kick in, it is almost a form of relief from the preceding avalanche of emotions. Masson's psychedelic twirling on the fretboard offers a harder edge to his usual Celtic/Oldfield style, a trait throughout this raw album, proving that this is not an artist stuck in formulaic mode, actually progressing further and beyond whenever possible. When the rumbling bass guitar muscles in on the final section of the arrangement, the bliss becomes overwhelming. A masterful exercise in modern music composition and instrumental expertise, bar none.

Having been fortunate to spend my high school years in the Swiss education system, I got to witness at an early age the notion of direct democracy, a form of socio-political government whereby the people vote in plebiscites on a variety of issues instead of having an elected representative decide what needs to be accomplished and how (sadly, more often not done very well). Based on the 1000 city states that composed the Greek civilization and reprised by the Italian Renaissance, it may be a more 'involved' and educated society when the people decide their fate and not their elected prima donnas. So, when the next track "The Nature of Evil" bullies itself sonically into the current binary (left or right) debate, it should come as no surprise that this nasty, blood curdling composition, fully adorned with speeches by a couple of 'leaders', past and present only seeks to highlight the current insanity of a world that has only 2 colours: grey and gray. As the heavily lumbering obese steamroller shifts into gear, the two- note onslaught begins its slow assault on the senses, crippling the mind and aggressing the energy with endless faceless opinion-peddling by all sides, as if nothing more exists than two sides of the same coin. The bright colours of the universe are definitely gone in this arrangement, it's a sonic criticism of the current moribund, pathetic, feeble, and ineffective forms of government pretty much everywhere on the planet, from all sides of the spectrum and the sombre music certainly paints an ugly picture. This is easily the 'dirtiest' track I have heard this year; a long luxuriant bath may be needed after this and a Toblerone to wash away the soot.

"The Bones of the Mountain "is the second megalodon here, clocking in at a paltry 19 minutes and 59 seconds, and surely a more comfortable zone than the two preceding blockbusters. Firstly, the acoustic guitar reverberates in a more bucolic setting, reflecting the Celtic prog tendencies that have marked Colin's long solo career and his splendid years with the Morrigan. Needless to state, it's a welcome relief, as the warm, spiritually infused musings soothe the bruised psyche like only great music can, a panacea for all our troubles, real or imagined. The restrained pace is remarkable at first, as the evolution towards bigger melodies and more punch is gently raised without too much turbulence. His mastery over the electric guitars is exhilarating, every note meaningful and yet audacious. The transition into parallel realms is intoxicating, as he makes his guitar cry, sob, heave and bellow, a remarkable touch without ever falling into redundancy, underling it all with deft drums support, the usual buzzing bass and some thrilling organ adornments. As the aural ascent becomes more arduous, the pauses for effect become necessary, at times playfully eccentric, and even hypnotic and at others, deeply introspective. The final section evolves into a complex, prog-folk symphony that has been the hallmark of his passion for may decades now.

The serene "Spered hollvedel » («universal soul») is a traditional Brittany composition from famed Celtic maestro Alan Stivell. The music comes from ancient folk songs based on Sainte Marie de Rostrenen (Itron Varia Rostren) and for Sainte Anne by Jeff Le Penven (Kantig Santez Anna). The traditional Breton roots are at the forefront here once again in full regalia, an homage to a marvelous tradition that keeps going strong despite all the swift noise. The elegant recorders exude a magic that can only be found in this solemn style, both reverential and subdued, yet oozing emotion and utter accomplishment. The main melody is simple and simply beautiful, a sheer joy for the ears, the mind and the soul connect to it all. As the electric guitar retraces the grandiose theme, the nail is gently hammered snugly, a mesmerizing composition that serves to complete (and not compete with) the previous tracks, as it's a fitting climax to a wonderful visit in the brilliant world of Colin Masson.

Both "Echoes of Albion" and 'the Visitor", unified TOGETHER as one and will be placed high on my top 5 for 2024 list . 5 gentle tourists

— First review of this album —

Its about time to review this interesting musician, after all I own three albums already, but I never got to review any of them until Alex sent me a request to listen to his latest offering. How can I refuse such a kind wish? Born in lovely Montreux, Switzerland and currently residing in the equally stunning city of Bologna with its endless porticoes and colonnades, Alex is a gifted keyboardist, multi-instrumentalist and composer, and while his backlog is chock full of quality tracks, this new album is an absolute stunner, which should catapult him into the higher echelons of 2024 prog releases, perhaps even among my top 5! Ably assisted by a muscular rhythm section composed of drummer Bruno Farinelli (a true revelation on all the tracks), longtime bassist Giambattista Giorgi as well as slick guitarist Emiliano Fantuzzi. Throw in Alessio Alberghini's swirly saxophones, but the major jaw drop comes with the inclusion throughout the 2 long suites of mezzosoprano Valentina Vanini, that raising the already celestial roof on the overall dense symphonics with some stellar vocalizing, very reminiscent of Pauline Lucas' soprano wailing on King Crimson's Formentera Lady. Two extended suites each roughly 30 minutes long and containing 9 parts, completely stamps this work with composing credibility, where reflective arrangements cleverly interweave in telling its stories, with no diluted moments to be heard anywhere.

"Amnesiac" kicks off with a hypnotic train ride, zipping gently through the countryside before screeching into the furious chaos of a large city, a harrowing adventure that can easily make one lose their mind! Feeling alone in the company of thousands of faceless people is expressed by the booming 'Perfect Chaos' section, a thrilling maelstrom of sound and fury. A momentary lapse of purpose is depicted on the floating and vaporous 'Flashbacks', perhaps a desperate attempt at calming a hurrying heart and an edgy mind. This part really opens up the throttle as both Carpani's synths and Farinelli's concussive assault seek to emulate some form of wake -up call, a return to a physical realm of touch and sensibility, as the grinding chain-saw electric guitar riffs slam hard, especially in the chicanes. Palpitations are brought under control, as 'Diamond in the Rough' reestablishes a proper lung full of air, decorated with a powerful melody and a convincing vocal from Alex. The luxurious symphonics enter the arrangement with neo-classical leanings, a reflection on the 'Past Life' with a crushingly gorgeous aria from Valentina Vanini, whose controlled wail is to expire for, a larger-than-life instant of serene intensity that is simply overwhelming, blending into a distant horizon of revelation, perhaps even liberation, as the 'heart calls' out for a 'returning light'. The final two sections are profoundly inspiring, infusing a calm bass groove and an uplifting saxophone, caressed by choir mellotron and Vanini's supremely well-placed howl. When Fantuzzi adds a spiraling guitar solo, there is definitely an illumination at the limit of the cerebral tunnel, as 'End of the Day' seals the crimson waxed seal on the deal. I am such a sucker for operatic voices, as Vanini adds a dimension of power and genuine emotion that verges on an epiphany of sorts. Clarity succeeds in reestablishing a firm contact with reality, a magnificent salvation of spirit and sound.

As tremendous as the first suite is, "Good & Evil" is an even loftier one, as it segues nicely into a contemplative space of 'vanishing frequencies', desperately twirling the knob to find 'the Flow', which enters the frazzled fray with a deliberate bass thump and an athletic drum attack that hits into overdrive, crashing cymbals symbolizing a new path, as the synths twists and turn in a frenzy. Alex's vaporous vocal is chilling as if singing in an oval channel, heading towards a 'post-traumatic stress disorder', perfectly expressed by Valentina's wailing and Fantuzzi riffing, Farinelli bashing, Giorgi brooding and Carpani carving with no holding back. A highlight moment of symptomatic musical nightmare. Thankfully the soothing saxophone appears on 'Stillness and Ecstasy', a balm of comfort once again elevated by Vanini's courageous defiance, if only for a brief respite. Needless to state, the continuous sonic contrasts are energetically intriguing, as the ebb and flow are beguiling with a load of detail that 'flirts with darkness', infusing trembling electronics into the mix. Farinelli really sweats up a storm, egged on by a strong bass alliance. Vibrant symphonic prog at its finest. At nearly 6 minutes, 'Mystical' is not only the longest snippet but also perhaps the spiritual apotheosis on this album, what with the mythical infusion of glorious church organ (to go with the papal announcements), a lovely wink to Rick Wakeman's first solos album as an homage. The operatic voice raises this piece to celestial heights, a serpentine vortex of impeccable notes that seek to fascinate and imagine beyond the dreary routine of everyday life. Vannini segues into a desire to leave the path, a clever return of a previous melodic line and vocal, looking for a more familiar direction. 'Masquerade' just keeps on giving, a façade of the continuing battle between good and evil, burping bass and a slithering, shimmering guitar adornment that Hackett would surely approve. Rather unsurprisingly, 'Everything falls into Place' becomes the immaculate finale where all the preceding emotions are reassembled into a compact and explosive consecration that leaves nothing to chance. The peaceful innocence of children playing, laughing and smiling, before putting this marvelous story to bed, a warm blanket, a soft pillow and a kiss on the forehead.

When the entire package is also adorned with an attractive cover and sterling production, one cannot help to immediately be slain by the incredible music within the grooves, my first audition blowing me sideways with repeated gasps, grunting with unabashed pleasure, entertained and pleased, unable to resist the immaculate charm of the proposed work.

5 Decent males

'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.

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.

Review Nº 843

The story of Pendragon began in Stroud, Gloucestershire, England in 1978. Four very young musicians got together and decided to form a rock band named Zeus Pendragon consisting of Nick Barrett, Julian Baker, Stan Cox and Nigel Harris. Soon, Zeus Pendragon started to play cover versions of some classic rock tunes of Jimi Hendrix, Led Zeppelin, Fleetwood Mac and Santana. The Zeus, a part of their name was dropped when Baker decided it was far too long to fit across a T shirt. There were some personnel changes in the early days, but since 1986 the line up has remained almost stable. The band is active in the progressive rock revival since the 80's and belong to the founders of the neo-prog sub-genre with Marillion, IQ, Pallas, Galahad and Twelfth Night. Like their pairs, they often appeared as a support acts to Marillion and other major progressive bands. However and gradually, Pendragon was able to achieve a solid status as one of the greatest progressive acts nowadays, performing alone or as headliners in many places of many countries.

'In Introducing Pendragon' is a compilation of Pendragon and that was released in 2013. It has fourteen tracks. The first track 'Kowtow' is from 'Kowtow'. It has an intricate structure and a good guitar work. This is a nice track with a first part calm, with a great melody and a good rocking style in the second part. It has nice lyrics about war that proves that Barrett can write good lyrics. The second track 'The Voyager' is from 'The World'. It's an epic ballad with great keyboards and beautiful acoustic guitar work creating a harmonic and engaging colourful pallet of sounds. Barrett's guitar work is good, with Nolan's keyboards producing lush textures of sounds, providing a great harmony. The third track 'Breaking The Spell' is from 'The Window Of Life'. It's one of the best ballads of Pendragon. It has nice keyboard and great guitar work, a dynamic bass line and good drumming. It has a beautiful symphonic and hypnotic atmosphere that shows the perfect communion between Barrett and Nolan. The fourth track 'Paintbox' is from 'The Masquerade Overture'. It's a great track with a nice atmosphere, great melodies and a memorable chorus. It has a good keyboard work and a superb guitar playing by Barrett. The fifth track 'Masters Of Illusion' is from 'The Masquerade Overture'. It's an epic, one of the highlights on that album with more than twelve minutes. It's exciting from the quiet beginning till the last moment. It combines perfectly well the old progressive rock style with the more melodic tracks of their latest albums. The sixth track 'If I Were The Wind (And You Were The Rain)' is from 'Not Of This World'. It has long great instrumental passages, emotional lyrics and is a fantastic symphonic composition. It could hardly be more majestic and warm. It has fine backing vocals by Tina Riley too and a spacey atmosphere and excellent performances by all band's members. The seventh, eighth, ninth and tenth tracks 'For Your Journey', 'Sou' By Sou' West', 'We Talked' and 'Two Roads', respectively, are four parts of the track 'The Wishing Well' from 'Believe'. It's an epic with about twenty-one minutes. The first part is a largely spoken piece with a celestial atmospheric ambience, extremely beautiful. The second part is beautiful with dual acoustic guitar playing during the verses and great electric guitar solos played thorough the choruses. The third part is a great rock song filled with some weird vocal effects and great musical parts well performed by all band's members. The fourth part starts as an acoustic ballad that soon rocks strong with an excellent slide guitar solo in the end. The eleventh track 'Indigo' is from 'Pure'. This is a dark epic track played in two parts of over thirteen absorbing minutes. It starts with a metallic guitar riff and the song evolves into its main theme through a barrage of guitar accompanied by ferocious drum work. It's one of Pendragon's finest tracks. The twelfth track 'It's Only Me' is from 'Pure'. It starts with piano, guitar and harmonica. It's an emotional ballad with lyrics about how resilient we are as a child. It's a slow and sad lament that ends with a superb and memorable extended Barrett's guitar solo. The thirteenth track 'Empathy' is from 'Passion'. It starts with a powerful heavy rhythm. It's full of constant changes. It's a complete song with a gentle vocal work, a nice guitar solo, a beautiful piano performance that ends with a magnificent orchestral sound. The fourteenth track 'This Green And Pleasant Land' is from 'Passion'. It's a lengthy epic, a beautiful track more in the taste of the old fashion Pendragon's fans. It's an emotional, beautiful and intelligent track with Barrett telling us the story of his homeland and where we can see him providing those dreamy and beautiful guitar passages.

Conclusion: 'In Introducing Pendragon' is a very interesting compilation album of Pendragon. When it was released, Pendragon had already released eight studio albums and almost all have tracks represented here. The only exception is their debut studio album 'The Jewel' with none of its tracks chosen to be part of it, which seems to be a bit strange to me. 'The Jewel' is good enough to can be represented here. For instance 'Leviathan', 'Alaska' and 'The Black Night' are all great tracks that could fit perfectly well here. Besides, 'The Jewel' is a better album than 'Kowtow' is. Thus, 'In Introducing Pendragon' is an interesting and good compilation album of Pendragon but isn't really an essential item.

Prog is my Ferrari. Jem Godfrey (Frost*)

Definitily, Christian Vander is the most creative people in this world, i cant believe that someone in a nice day, just start to think, maybe i can make an zheul album, for children. if i live a hundred years ill never make some ideia like this

But now about the album, It is a nice album, nothing really important, but have really good moments, like Hymne Aux Enfants, but dont expect something like a powerfull or a dark zheul(this is a album for children, to make them happy, not to make them cry).

it is something interesting, if you have a lot of free time, give a chance.

1. Step Inside intro intriguing, from the FRIPP period 'Discipline' inside, from the TALKING HEADS for a heady musical mantra; it becomes jazzy, it rises, it gallops and it is finally catchy on an explosive, fruity bossa nova rhythm 2. La Quatrième Mort/La Vie Lumineuse starts on a melancholic nursery rhyme... of all beauty, amplified by the suave voice of Carla from SLEEPYTIME GORILLA MUSEUM. Scattered notes that flow like an endless torrent; the variation both jazzy and on the bucolic territories of the GENESIS of yesteryear with the plaintive voice and the archaic piano, 3. Concretion with this guitar, the sound of inimitable Frédéric, flirting on a frippian riff that sends on warm and dark progressive territories, musical dichotomy of having thus two opposites that associate pleasantly; the sound becomes more fluid on a hackettian arpeggio, yes we are surfing on the reminiscences of the great Dinos there; in short the surprise is big given their heavy prog label not updated! 4. Get Lost is the song that stuck me, word written at random; a fusion between the voice and the instrument, a mantra, a catchy melody that transports you right away. A musical Nirvana, yes I dare; there is a zest of the best BJORK, hints of recent MEER, there is this divine rise that escapes the drawers of comparison; it is beautiful, captivating 5. Fire and Ashes for the cinematic intro, the current fashion; as if we were entering a recording studio at the time of the adjustments; the discordant sound goes on a heavy rock vocal, ah finally there; the hint of MAGMA in the distance; the sound juggles while descending on a minimal tempo, hypnotic before resuming its desperate cry; the final variation on an aggressive sound out of tune again with cello, imaginary or real, which tenses, yes the wink with the mythical piece of KING CRIMSON comes back to me in full face, polyrhythmic string pinches. The dreamlike crescendo soft and violent at the same time, oxymoronic 6. Entanglement not that of GENESIS; the voice in French surprises positively, soft, plaintive, evocative; the handover with the language of Albion did not mark me, I understand English now? The guitar wants to be playful, the tribal, medieval percussions add to the folk climate; strange and admirable. Think about taking a break.

7. Light as a Cloud arrives, softness of syncopated notes accompanied by a crystal guitar arpeggio; an innocuous piece which unrolls and rests the ear 8. Rejoice! and the return of the voice, and the sounds again aggressive, crimsonian in the search for the avant- garde not necessarily taken at its best; jazzy drift, zappaesque, a bit of RIO, everything goes in this strange piece where the raw side of the voice floats near the shadow of frippian guitar 9. Berceuse for the Guilty latent intro, dark, chamber music where the percussions come to the fore; air of wandering on the typical guitar, relaxing 10. Strange Particles ah yes the riff of a simple and effective KING CRIMSON is not far, metronomic. The idea of ​​a journey on jazzy lands, electric gypsy, on redundant notes, moment when the length of the album begins to become clear; do not hesitate to cut the listening in fact; note the effective work of Nico which allows to weld the framework and prevent the sound from going a little too much in all directions. 11. Surrender with a male voice, which one? A RIO track with repetitive frippian guitar with a bit of ART ZOYD in the distance, I'll have to listen to it again 12. We are Heralds bis répétita, 'Discipline' era we agree with the work of David SYLVIAN; the sound becomes heady if not mantranic like at the beginning of the album; come on a bit of South America to make you dream in the final climb 13. The Final Day ah for the end and a long vocal mantra to close, a long orchestral variation rhythmic like potpourri and fireworks; it's soft then aggressive, never metal or heavy, just syncopated with guitar arpeggio beaches to rest the ears. The finale with the Charisma sound and the captivating organ gives a spice that was starting to be missing on the previous tracks; a long track that allows you to come back from this singular musical maze. Originally on Planète Prog.

Without a shadow of doubt we can say that The Dillinger Escape Plan reinvented metal music with the release of their second studio album 'Miss Machine' in 2004, a scorchingly heavy release that dared to experiment with a variety of influences from industrial to fusion, and while traditional prog fans might recoil in horror at the sounds of the grizzly vocals and manic, dissonant instrumental playing, 'Miss Machine' is truly a brilliant piece of heavy music that has influenced virtually all subsequent movements in the genre, including the likes of djent and necessarily the currently quite popular metalcore. The blatant aggression and fiery rage of the music of Dillinger is here counterbalanced by a very daringly experimental approach and the inclusion of several intriguing passages that would easily resonate with jazz fans is an additional flavor to the otherwise cathartic playing; there is also an apparent use of electronics and programming that add another layer to the music, one that possibly pertains to the influence of Nine Inch Nails. It is important to say that this album saw a lineup change in the addition of Greg Puciato on vocals (coming from an industrial band) and bassist Liam Wilson, and that it serves as a follow-up to a now-legendary 2002 EP with Mike Patton on vocals.

Dense and chaotic, 'Miss Machine' is really out there to challenge the common ideas about heavy music with its vigorous rage and technical proficiency, the album meanders between scorchingly heavy riffs and more controlled, experimental passages full of feel and a desire to expand the scope of the band's sound. An intense and demanding listen that sits at about forty minutes, at the root of its sounds one would necessarily find the spirit of progressive, much like a contemporary Gentle Giant, each release by Dillinger is full of exploration, power and ingenious approaches to writing music. Look no further than the angular album opener 'Panasonic Youth', a dangling and unhinged piece of metalcore whose shattering sounds set a menacing tone for the entirety of the record. The more acceptable chorus of 'Highway Robbery' is followed by a beautiful fusion instrumental part, while the engineered soundscapes of the gloomy 'Phone Home' reminisce a lot about what Nine Inch Nails had been doing some years prior, with the singing voice of Puciato lying somewhere between an enraged Trent Reznor and a ludicrous metalcore version of Mike Patton. Other really strong examples of the band's capabilities and fusion of styles are the menacing tracks 'Setting Fire to Sleeping Giants' and 'Unretrofied', virtually the most reasonably constructed song on the album, and the one with the most accessible direction. 'Miss Machine' is among the groundbreaking metalcore albums of the early 2000s, one that has a truly progressive underlying spirit, marking a shift in the band's style towards more experimental territories.

Porcupine Tree is one of if not THE king of the second wave of Progressive Rock, the band has worked it's way to this title, starting off as zany psychedelia to more mature art rock/alternative progressive metal, key word is zany because OTSOF is definitely that, you could easily compare this Pink Floyd's Piper At The Gates Of Dawn well at least in the context of the bands discography, (Piper is much more... English) The songs here are storys of wacky characters and places, it's like listening to a Saturday morning cartoon, the album has sort of because the butt of jokes within the Porcupine Tree fandom, from my understanding Steven Wilson started PT as a joke project trying to mimick Prog bands of the 70s trying to make PT look like one of those relics, (and it works for the most part) there's definitely influences of Hawkwind, Pink Floyd, Syd Barrett, Eloy and some Krautrock touches here and there, one of my favorite moments on the album is the track "Third Eye Surfer" it reminds me a bit of Alice Coltrane but without the harp, I think my biggest problem would be some of the sounds here sound kinda stock, especially the drums at times but really it's no big deal. Really I like this album even compared to other PT albums I honestly think it stacks up, sonically it can sound very beautiful yet trippy, "Radioactive Toy" and "It Will Rain For A Million Years" are fan favorites because of that, this album while not essential, is an interesting addition to any prog rock collection

SUB were a five piece out of Germany who managed to release this one studio album before vanishing. They all had a background in beat music, but were all gung-ho about being part of the German underground scene that would become known as Krautrock eventually. So yes naming yourself SUB certainly connects well with that psychedelic underground movement in Germany in the early seventies. I like the name. And yes it's deceiving to call this "In Concert" given it's a studio album. Adding fake crowd noise etc. on that opening 18 plus minute track to make it sound live does take away from my enjoyment knowing it's not live.

But no behind the scenes trickery will take away my admiration for this album. My music right here. These guys know how to play and they loved to jam. And they have an amazing singer who can bring it, very entertaining. He has character in those vocals, and even sounds like Bryan Ferry at times when he slows it down. The drumming also stood out, and he would go on to play with AMOS KEY a more Symphonic band from Germany that released an album back in 1973. And while the vocals and drumming impress the most here, the solo instruments of guitar and organ are also very good.

They clearly were fans of THE SPENCER DAVIS GROUP as they cover "Gimme Some Lovin'" and then add "I'm A Man" as a bonus track. And there is, as others have mentioned, a non-German vibe to their music with American and British bands coming to mind. That over 18 minute opener is the one to hear. They sure like to jam and experiment.Lots of feedback from that guitar and after the guitar and organ have had their way, the piano takes a turn. I do like that cover "Gimme Some Lovin'" especially the bass.

The opener which is called "Sub Theme I" has a second part "Sub Theme II", and at 2 1/2 minutes it sounds nothing like the first part. Same with the two final tracks "Match I" and "Match II" as they have nothing in common(haha). That leaves "Off" and "Ma-Mari-Huana", and the latter was released as a single with "Off" the b-side. Yes a song about weed, and it was their most popular song. Weed has been legal here in Canada for 6 years but it seems way longer. But acceptable now to the point that people bring weed products as gifts for Christmas events at work etc. We have all gone to pot here.

Those stories my Accountant teacher told us in High School were so cool about The Netherlands and weed. This teacher had "Close To The Edge" and other Prog vinyl albums at the back of the class. Yeah cool guy. Actually a couple of classes back then in the second half of the seventies had record players in their class. My Art teacher only specified one band he would not allow anyone to spin, and that was RUSH. Yeah "2112" was pretty extreme back then.

I feel this is well worth picking up for those wanting to check out some of the more rare Krautrock albums from back in the early seventies. Garden Of Delights as usual did a real nice re-issue with this one.

Stephan Thelen and David Torn did it again and in just 3 movements they delivered a concise, solid and surprising work in which the best of the latest King Crimson floats in the air while we hear basses as if taken from the most harmful Zeuhl and a permanent feeling that things can suddenly become electronic.

Irregular metrics coexist with riffs of deep mysticism and phenomenal guitars that appear in the form of grandiose solos as well as in the textures and layers that are added to the songs to add thickness to the general mood of an album that can be enjoyed enormously from beginning to end, whether in moments of modern darkness or in calm and reflective passages. all with a futuristic and novel air.

Excellent work by these Swiss band, highly recommended!

I didn't know about the existence of this character until I saw a certain review on Youtube and I have been very pleasantly surprised with the very particular style and history of this Mexican composer.

Like an industrial blender, Greco seems to want to tell us so many things in such a short time that the result is overwhelming in the best of ways (at least for those of us who love the school of Rock In Opposition, Zeuhl and Avant).

It is noteworthy that, even with the participation of so many renowned musicians, the album stands out for its uniformity and cohesion. The pieces sound connected by an invisible thread that is undoubtedly Greco's composition, weaving with careful care the instruments of at least 30 human beings from different parts of the world who somehow manage to sound like a single band, song after song.

The man achieves what he seems to want in the listener: a permanent feeling of unease and power that very few bands achieve in this genre today. Magnificent!

The group with possibly the highest average IQ's playing together, created in this album an authentic manifesto of what it means to take the most learned and complex music to the fields of Rock, marking a before and after in the conception of the term Avant-Prog and having to this day the cult deserved for it.

At times chaotic and Dadaist, "Western Culture" was precisely that: to make it clear that they could have fun and have a good time together, taking the rules of music conservatories to the extreme, creating songs that hide behind their intricate elements precious passages of the purest beauty, for those of us who like RIO as much as contemporary classical music. It's hard to say if it's his best work, but easy to say it's one of his perfect works and touchstone of the genre. Huge job!

Ok, we know it's one of those experiments in which an advanced group decides to create a non-existent soundtrack for a movie from 50 years ago or more (well, maybe they invented this macabre experiment themselves).

The reality is that I have never seen the homonymous film from 1921 and it is something that I am not sure I need in my life, since I feel more than satisfied with the majesty of the album created by these Belgians in 1997.

Dark, gloomy, threatening, cinematic, histrionic and intimidating are some of the words that describe the mood of the songs well. Abundant in passages that change each other (as if they were scenes from a movie), the album offers a beautiful experience of unpredictability and amazement every couple of minutes. It is worth highlighting the fact that the music is from 1997 but sounds, at least, 25 years older which I consider a detail of excellent taste on the part of this cult band of the darkest rock in opposition ever made.

From the now legendary drum fill that opens "Peaches in Regalia" to the last crazy notes of "The Gumbo Variations" this album is a true tour de force of the genius from Baltimore.

I think that a great merit of this album is to leave aside the uncomfortable comedy and social satire with which he filled his previous albums to launch a serious work (if you can call anything Zappa has ever done that).

And it is that this album proved once and for all that Zappa was a great composer of sera music, jazz, rock, blues and avant (in case there were any doubts about it) while in the aspect of execution he made it clear that he was a guitar virtuoso with a unique language that to this day is confused just by listening to a few notes of his glorious guitar.

An album that many mark as the best initiation into the world of Frank and all his conceptual continuity... I'm not sure about this, but I'm sure that Hot Rats is an absolute masterpiece!

One of the most mysterious characters in the history of progressive rock, virtuoso pianist and Austrian child prodigy who could only give the world an album with his majestic work.

Possessing a unique style and a wonderful ability to fuse seemingly unconnected elements, the mind of this Austrian bequeathed to the fans of Jazz and rock in opposition one of his most solid and memorable pieces.

I think I heard some unpublished pieces that, although they kept a certain structure, seemed to me to be mainly rehearsals or improvisations that still needed work.

Why didn't he release more music? I ask using the word "publish" because if there's one thing I'm sure of, it's that Szobel will continue to create music until the end of his days (if he's still alive). Fascinating story but even more incredible and portentous is this album, a must in any progressive collection.

A French ensemble who've risen out of a former incarnation as makers of mediæval music, the band's debut album is raking up the accolades from virtually everyone who encounters it.

1. "The Eternal Tree" (2:06) (4.375/5) 2. "Life" (11:31) a murky-sounding song that feels far too simplistic and predictable to possibly be receiving the attention it's been getting. The CAMEL-like bluesy passage starting at 6:10 is almost laughable for its predictability. Adeline Gurtner's lead vocals are weak and so poorly recorded and Olivier, Carina, and Mathieu's background support are just as poor. (17.125/20)

3. "Ethereal Melodies" (7:55) though sounding a lot like the previous song (chords, keys, sound palette, main melody) the band's previous incarnation as medievalists is able to shine through due to the quieter, less bombastic soundscape. Still, I can't fight the domineering feeling that I'm listening to a 2.0 cover band version of one of the older Prog Folk masters (Renaissance, Magenta, Mostly Autumn, Iona) (13.125/15)

4. "Back in Time" (14:24) Adeline and the band's best early Christina Booth/Magenta imitation (which makes them an imitator of Annie Haslem/Renaissance, right?). Mathieu Rossi's e-flute play and Carina's Hammond are quite top notch, even exciting and inspired, but Adeline's Christina Booth-like vocal performance sounds too much like the often-tired-sounding singer she sounds so much like. Too bad she wasn't given some of the theatric voice-acting roles the boys and instruments were given. I like the entertaining circus-like theatrics and more impressive display of instrumental skill and whole-band cohesion. (26.5/30)

5. "Prelude" (1:04) a successful exercise in Vangelism. (4.5/5) 6. "Coexistence - Part I" (11:20) a multi-part instrumental suite that is really just rather bombastic NeoProg--complete with Genesis rhythm tracks, a Pendragon-like environmental theme, and lush IQ instrumental palette. The construction is solid with the flow believable and engaging. The instrumental performances are solid and sometimes almost refreshingly unique (some really nice woodland folk weaves in the fifth and sixth minutes). (I don't really like the DAAL-like passage in seventh and eighth minutes.) The mix of the instrumental palette is pretty decent. Too bad the sound quality is so murky poor. (17.5/20)

Comparisons to Renaissance, Magenta, Mostly Autumn, and Iona are warranted, but only in terms of imitation. The sound quality, however, never reaches the high levels of quality mastered by these other bands; in fact, its the murky sound (and rather rudimentary, by-the-numbers prog) that turn me sour on this music. I really wanted to like this album--the preceding reviews were all very exciting--but my hopes are totally and completely deflated by the product I'm listening to. They have talent: and vision--but they need to grow a lot in the skills department and, moreso, in the sound engineering department. Still, the album does get better both over time (with repeated listens) and the deeper into the album one goes. (My expectations are now adjusted: prepared for the low sound quality (which reminds me of the horribly murky and overly-expansive soundscapes Cornwall-based band of Scots, THE EMERALD DAWN seem fixated on) as well as the inconsistent skill display and often too-imitative compositional quality.

Total Time: 55:55

B-/3.5 stars; a debut album whose inconsistent qualities will, hopefully, improve as the band matures. It is my hope that the band find better studio and engineers and concentrate more on the Prog Folk elements of their music rather than the bombastic NeoProg.

A Triumphant Return

Sometimes you can go home again. As the thunderstorms of losing loved ones become more frequent and the realization that a lifetime evaporates too soon, I find it is both my faith and the music of others that can bring some peace to the soul. Music has always been the best of soul tonics for me. And so it is very inspiring indeed to reconnect with a band who were so positively received at ProgArchives many moons ago, who return with a work that is markedly satisfying and heartfelt. It is all the more wonderful that these are the same four gents who recorded that first album 25 years prior! Often we see reunion projects with one original member and the rest are all new recruits, but the returning Cooperativa Del Latte is the same four guys. I love that. Returning again after so many sunsets are Gabriele Benfatto (guitar, vocals), Sergio Contin (bass), Claudio Farneti (drums, percussion), and Pierluigi Piccoli (piano, keyboards). In preparation of doing a review, I reached out to them to get some background on the story of Fogli d'Acqua Sparsi, their return as CDL.

The new album is not Il Risveglio, part two. Far from it. They did not want to repeat themselves, nor did they wish to pigeonhole themselves and be locked into a specific genre. They had years of new experiences and had been listening to all kinds of music since the '90s. Naturally, there was a desire to try new things and tell new stories. I recognized this change in style between the two discs before ever messaging with them. It reminded me of the change taken by friend and legend Stephano Testa, the difference between his '70s work and his more songs-based albums of recent years. Similarly, Il Risveglio, released in 1998, had more of that 1970s-influenced symphonic sound, often mellow and mysterious with longer dreamy passages and perhaps even some neo-prog feel at times. I felt the new album was very different, moving in a more songs-based direction, although not entirely. I don't think they're trying to mimic the past of the "cantautore" style masters here; there is still a nuanced progressive art rock feel, but it culminates not from the golden template of a Genesis or Italian symph influence, but rather from its inventive, collaborative playing and intentional songwriting.

While the overall sound profile is not earth-shattering or avant-garde in the way many ProgArchives adrenalin junkies expect new albums to be, the chops are there. More importantly, the heart is there. This is not just the next release in a career musician product line. It is the shared stories of regular people reaching out to talk about life. The songs seem inspired by a desire to communicate more effectively between musicians and to be more emotionally-direct with the audience. Critics could call the performances more succinct, less dense, or "economical" as compared to legacy symphonic prog-rock, but those adjectives don't do justice to the warmth, the organic vibe, and the feisty spirit that is captured here. To be objective, this album will not be wild enough for some of our prog-rock fans who crave serious bombast or metal-tinged technical heaviness, but it will please those in our ranks who are RPI fans, crossover fans, and those who enjoy cantautore but through a fresh lens. What I most appreciate is the care taken in the playing to serve the song rather than chest-pound, and I appreciate the high quality of the melodies that keep coming back into my head for days, little repeating motifs and lines that effectively find their way into your consciousness. That's a unique thing that many bands, while technically very accomplished, whiff on with regularity as they strive for the flash over elementals.

From the first moments of "Idrofilia," I smile. Having just reviewed an early '70s Battisti, it felt like I could be listening to some lost track when he was mingling new prog elements into his songs. Very catchy. Things quickly become more contemplative in "Oltre L'uragano," and it is apparent we are in for a treat. We settle in and close our eyes. I love that some space is reserved for piano rather than just using modern keyboard sounds. The ingredients of traditional RPI are still present (sans flute this time), but it is the thoughtful arrangements and the quality of the songs that create the magic here, not sonic window dressing. If you love good melodies enhanced by hours spent in practice crafting meaningful musical dialogue with each other, you will enjoy this. A couple of the tracks jump gears and rock harder with "Attimo Estremo" and "Fiume" having a particularly aggressive edge. The last two tracks are my personal faves with "Tensione Superficiale" building up with phased guitar sound, more aggressive drumming, and even a section of "lead" bass---yeah, bass in lieu of lead guitar---before "Foglie Sospese" perfectly decompresses everything with a glorious piano performance as the only element supporting the emotive vocal. What a great way to end the album!

Lyrically, the band seems to be writing about the human condition and personal relationships through the metaphorical lens of water in its various forms. I don't speak Italian, so I asked for more insight. Sergio gave me some notes on the lyrical themes as follows: ....water as a memory keeper ("Idrofilia," a song inspired by Aquileia, a little city near us which was the second port of the Roman Empire in Itay); a tempest of emotions ("Oltre L'uragano"); the back-scene of a love story (the rain in "Vero?"); the ability to change (in "Attimo Estremo," water is solid, liquid, steam); water that hides the world and leaves only old nostalgic memories ("Condensa"); water that passes violently like time ("Fiume"); water in nature (a little lake and its microcosm in "Tensione Superficiale"); and the absence of your beloved as snow on heart ("Foglie Sospese"). -italicized portion by Sergio Contin

It is often written that CDL were a "one-off" who vanished after Il Risveglio, but it's a bit more complex than that. After their debut, they eventually did part ways as CDL, but they all remained active in other artistic projects in music or theater. By the time CDL reunited in 2018, they immediately felt "at home" again, but now with 20 years of life to reflect on in new songs. I am only speculating here because I don't know the band, but it sure feels to me as if these guys share deep friendship and a gratitude for this chance to collect themselves again in the sacred space of creativity. It's one thing for young people to start a band and make an album when there is endless free time and energy. It's quite another thing for four people in busy midlife to have the chance to recreate this kind of fellowship and nurture it to create something new through a more mature dialogue. They were committed to making the time to do that for this material. I heard through the grapevine that perhaps we haven't heard the last to come from CDL. If true, let us hope it does not take another 25 years!

I am grateful to have found this music of the heart. Sometimes an album feels a bit more special than just another rock record, and for me this was one of those. Many thanks to Sergio Contin for sharing some of the CDL story with me.

Gentle piano, with lovely use of the sustain pedal, leads us delicately into the clear soprano of Veronica Bordacchini as she commences the journey which could easily be the opening of an opera. Strings come in, and we sit back, relax, and bask in her wonderful vocals, so much so that when she hits the high notes and demonstrates her training we reach over and turn it up just a little more, so the music becomes all encompassing. It may be only just over two minutes long, but it is transformative, and then there is a slight gap, and the choir are back with Francesco Paoli singing the words "I Can Never Die", which leads us into the 10-act story inspired by the tragic mountain climbing accident which nearly killed him in 2021.

I actually think this album is a step up from the last two, which is not something I thought could happen as they have mixed the symphonic death with styles which are more classical and one can imagine fans of Nightwish or Epica enjoying how those bands have been joined together with Dimmu Borgir, and then influences from the likes of George Frideric Handel and Richard Wagner have combined to create something which musically is huge. A massive credit must go to Grammy-nominated producer Jacob Hansen (Volbeat, Epica, Arch Enemy) who mixed and mastered this as he has managed to make the quiet sections just that, while the massively over the top joining together of choirs, death growls and metal is insane. It feels like the listener is in the eye of the hurricane with the maelstrom going on all around, sheer chaos yet there is also order and continuity as while we do not comprehend what is happening there is a clear direction with loads of contrast.

Francesco is often the lead, with the choir playing an important part, with Veronica coming in at just the right moments to cut through the carnage. All those involved have played a major part, but it would be very wrong indeed not to call out drummer Eugene Ryabchenko (Banisher, Afgrund) as he is everywhere at once with hands and feet driving this album forward by sheer force of will. It leaves the listener exhausted, such is its majesty and power, and the only way to really pay homage to a magnificent work is by playing it on headphones, and very loudly indeed. The class shines through this from beginning to end, and at 43 minutes is both perfect and way too short as when in the zone the return to the real world is somewhat jarring, so the only thing to do is play it again.

3.5 stars. SENSITIVA IMMAGINE formed in Italy in 1975 and managed to release only one album in the great Italian tradition. I'm convinced that these young Italian guys once they've finished the recording sessions go out for pizza and girls and never come back. Have you seen some of these Italian girls? I don't blame them, but we are the ones to lose out music-wise. The only album they released was actually on cassette only and there is no reliable information as to the year they released it, other than most put it between 1976 and 1980.

The two band names that pop up constantly when talking about this album are LOCANDA DELLE FATE and GENESIS. Especially GENESIS, and to a fault really. And usually the GENESIS worship comes in the form of those Gabriel-like vocals but not here. It's the instrumental work that recalls the early moments of that great band. Mostly the guitar and keyboards. A five piece, and the singer thankfully sings in Italian, but he doesn't have the range of some of those classic Italian singers in RPI. I prefer the pastoral moments of this album, the beauty they created, but when they try to amp it up, it just doesn't work that great in my opinion.

On my original go around with this one 5 years ago I was constantly mentioning GENESIS in my notes as I listened to it. Only six songs and my top three includes track four, the longest at 10 1/2 minutes with samples of a car revving it's engine, then taking off, changing gears as it goes. Then the music kicks in. "Storia Di..." and "Harlem" sound too much like GENESIS, I prefer the final two tracks for my top three. The first of those is piano and vocals while the closer features some really catchy guitar work, and is a nice way to end the album.

A Neo prog vibe here too which is a coincidence more than anything, but this really was enjoyable, scratching that GENESIS itch. Not the most original sounding record though. The rating of 3.5 stars seems just right in my music world. If you like GENESIS though, please check this one out.

Despite the passing of 17 years since this band's last studio album release, their distinctive sound and style of prog is immediately recognizable: delightful blend of folk-infused storytelling not unlike bands like MOON SAFARI, NEEDLEPOINT, THE DECEMBERISTS, RISHLOO, JEAVESTONE, JETHRO TULL, Guy Manning, Khatsaturjan, and even Frogg Café.

1. "A Hasty Departure" (6:28) interesting use of the Wild West-sounding upright "saloon" piano within/beneath the overall weave. (8.875/10)

2. "The Inn Of The Haunted Owl" (4:47) as the music of this album flows and coalesces I find myself filled with this strange feeling that I'm a part of an Ian Anderson-guided Tolkein adventure. Great song, so engaging, with a totally- awesome chorus and great vocal performance. (9.25/10)

3. "Dreams In A Brougham" (3:39) an instrumental interlude that provides a delightful and often hypnotically soothing emotional journey. Why don't more artists make this kind of sincere, honest music? For sure a top three song. (9.5/10)

4. "Chichikov Bogd" (4:19) so they want to bring Gogol into the picture, do they? Admirable! A dynamic song that picks you up and carries you away whether you were ready or not--especially in the GENTLE GIANT instrumental weaves between the vocal verses. (9.125/10)

5. "Mr. Tilly And His Gang" (3:09) a song that bears a remarkable similarity to a BEATLES' song of similar title: Mr. Kite" (8.875/10)

6. "Through A Rural Landscape" (3:03) another travelers instrumental--this time through some open soundscaped, piano-based slow-rolling hills. (8.875/10)

7. "The Feline Companion" (5:40) quite proggy with its heavy bass and thick syrup outpouring of Mellotron, the story continues--here with Patrik performing multiple voice parts. There's quite a little of the presence of vocal legend Freddie Mercury in Patrik's performance here. (8.875/10)

8. "Read All About It!" (4:17) has a pace and styling that is remarkably fitting for such a title and topic. The banks of choral vocals also seems surprisingly appropriate--giving the music even more of a stage musical feel. (8.875/10)

9. "Forgotten Qualities" (6:16) the sounds of stream water flowing with distant cave-played lyre or zither (Jon Gamble's bouzouki and mandolin with Patrik's acoustic guitar) opens this one before Patrik's bard continues to sing the story-- this time with some wistful sadness (despite singing about "a pretty day"). A powerful prog folk song. (9.25/10)

10. "The Three Heads Of The Well" (3:57) I ahve to admit to being quite surprised at the Yossi "Sassi" Saharon/Orphaned Land Middle Eastern direction the music of this song took, I like it! Great vocal from Patrik. (8.875/10)

Total Time 45:35

Though my only other Ritual album, 2007's The Hemulic Voluntary Band, did not receive super high marks in my review from 2011, the album has remained firmly planted in my brain and has received more frequent replays than I would have thought. Back then my Prog Folk ear was still under development (I still have little interest and/or patience for Jethro Tull songs, albums, or music--and, at the time, detested the genius albums of The Decemberists). While my developmentally-challenged brain still remains occluded to lyrics and their messages, I definitely have learned to appreciate the vocal instrument that Folk and Prog Folk artists are so reliant upon. Patrik Lundström is one of the good ones.

Based on the late Finnish cartoonist and children's author Tove Jansson (1914-2001)'s series of novels about the Moomintroll family, The Story of Mr. Bogd, Part 1 definitely runs along as one continuous story with some songs bleeding over into the next (or making their delineation points almost indistinguishable to the listener). Ritual's music has been my introduction to Ms. Jansson's writing and I have to say that getting to know this album has inspired me to start to get to know the Moomin series.

Musically, I truly appreciate the band's wonderful attention to detail and sincere emotional conveyance. I'll ask it again: Why aren't more bands/artists making this kind of music? We should be thankful! We should be rewarding this band!

A-/4.5 stars; a minor masterpiece of progressive music--the kind of music progressive rock should be making. To Patrik and company: I look forward GREATLY to the next installment of the Tales of Mr. Bogd and the Moomins but please take your time: make it as good as this one!

The Barcelona Canterbury Psi-Funk band's second studio album release of 2024, this one from November 22.

1. "Strength" (5:05) some of Eva's sultry pagan poetry played over Ozrics-infused funky psychedelic rock that sounds as if it were a cover of a classic 1960s pop song. Nice lead guitar solo from guest Tony Jagqar in the fourth minute. The presence of creepy Fender Rhodes and sitar add to the occult-esoteric mystique. A charming, promising, top three song. (9/10)

2. "The Hanged Man" (3:31) a percussion-entrenched instrumental that moves through two or three parts with layers of synths and heavily-treated piano washing over the top. (8.75/10)

3. "The Unnamed Arcane" (3:25) an instrumental that was resuscitated from the cutting floor of Tarot, Part I. (8.7/10)

4. "The Temperance" (4:26) another throwaway instrumental that they forgot to throwaway. (8.7/10)

5. "The Devil" (3:23) trying to inflect a little Zeuhl into the Canterbury soundscape? In the third minute Eva's spoken voice reverberates like a 1970s Elvira casting spells. (8.75/10)

6. "The Tower" (3:16) now back to the 1960s--like something from a female-fronted psychedelic rock band like the or Ultimate Spinach, It's A Beautiful Day, Pan & Regaliz, Carol Of Harvest, Earth And Fire, or perhaps Jefferson Airplane. (8.875/10)

7. "The Star" (5:00) a spacey New Age Gong or Steve Hillage song. Lots of Ozric bubbles, erps, stretchy weirditudes and oolite plurnies with and gentle keyboard and guitar apreggi floating around in and around the soundscape. A top three song. (9/10)

8. "The Moon" (5:54) Eva's vocoder voice with more soft-core Ozric-Gong-Hillage sounds built over a straight 1965 psychedelic rock foundation. (8.75/10)

9. "The Sun" (4:42) a decently constructed 1960s pop song with great bass play, Mellotron, and heavily treated (and nicely arranged) vocals from both Xavi and Eva singing in unison. Lead guitar in the fourth minute is performed by guest Tony Jagwar. My final top three song. (8.875/10)

10. "The Judgement" (5:56) sitar and acoustic guitars and dreamy ethereal female whispervocals dominate this simple almost-Prog Folk song. Sounds a lot like the music that Mediæval Bæbes' Katharine Blake continues to make. (8.875/10)

11. "The World" (7:12) another pointless, meandering, needlessly drawn out pseudo-POPOL VUH-like jam with strummed and picked acoustic guitars, sitar, treated piano, and heavily-reverbed female vocalese (mostly aaah's) that achieves non of the transportive/transcendent effect of Florian Fricke's ground-breaking band. (12.75/15)

Total Time 51:50

While still of excellent sound quality and very consistent in terms of sound and stylings when compared to Tarot, Part I, the music here feels more "supplemental," less developed, polished, and/or finished. There are far more minutes of instrumental music--a lot of it what feel like "background msuic" jams--and less of Eva's wonderful vocal stylings and arrangements. Where Xavi and Eva rushed to get this out to the public? Was this really the finished product they wanted to share with their admiring audience? After the delightfully high quality and consistency of Tarot, Part I--on which the band felt like it had grown (since their self-titled 2020 debut)--I had expectations for Part II that are here sharply disappointed.

B/four stars; a decent collection of what feels like unfinished psychedelic covers of classic 1960s hit songs.

3.5 stars. Lars Hollmer will need no introduction to RIO fans out there, considering he was a founding member of Sweden's own SAMLA MAMMAS MANNA, and part of the various off shoots of that band. He had a nice solo career as well, and part of that was his LOOPING HOME ORCHESTRA project I quite enjoyed. This was indeed his final album before passing of cancer in December of 2008. He was diagnosed with severe lung cancer in May of that year. This album was released in 2008 but recorded and mixed between 2001 and 2007.

There are some guests on here like Michel Berckmans on bassoons, english horn and oboe. Next to Lars playing mostly accordion, keyboards, melodica and more, Berckmans is next in line with his performances. Santiago Jimenez adds violin and Andreas Tenberg adds cello, and they both also play throughout this 50 minute album along with Michel and Lars. We do get some guests on single tracks like Morgan Agren on drums, Coste Aptrea on mandolin and Ulf Wallander on tenor sax. Hollmer has three of his grandchildren singing on one song while one of those also sings on the track "Alice".

Having his grandchildren on here, and including on the front and back cover art an inside look at the Chickenhouse which was the studio where Lars lived was sentimental. It's been a long time since I've been so fascinated with an album cover, plus the back when you open it up. All the pictures and items on the walls, the instruments, people etc. just so much to take in. Combine that with the top half of the pictures where we get such a contrast. I mean it couldn't be more perfect. Easily in my top ten of favourite album covers. Then when you open the liner notes and see the two panel picture of the Chickenhouse from outside on a blistering cold morning. Just so reflective and nostalgic, like Lars knew his time was coming to an end.

We get 16 tracks of mostly accordion led music, and this is a melancholic record, so sad a times. Especially that closer that tugs on my emotions with the strings dominating. And while I feel that this is a special album considering the circumstances, the music here is 3 stars in my world. My top two are the back to back "Paztema" and "Prozesscirk". The first mentioned is the first track that I really liked. And a lot of that has to do with the tenor sax from Wallander who I remember from guesting on some of those THE FLOWER KING records. The next song is a little different too with the strings, bassoon and piano leading the way. "Snab"(Fast) is the one with Morgan adding some beats plus this one is brighter and more uptempo than the rest. Lots of piano. "Alice" is somewhat happy with vocals that blend in with the music and mandolin from SAMLA's guitarist Coste Aptrea, and lots of accordion.

This will be going with my 4 star cds because of the pictures and sentiment, despite the fact I'm not that into the music. By the way the Chickenhouse was where bands like VON ZAMLA, SAMLA MAMMAS MANNA and ZAMLA MAMMAZ MANNA recorded their albums but also MIRIODOR recorded some of their "Parade" album there. And I have no doubt that was a thrill for them, being big fans of these Swedish bands I mentioned.

'Seventh Son of a Seventh Son', the seventh studio album by metal legends Iron Maiden, has been on my playlist for well over a year by now. Not sure what to score it, it's been an album I've constantly come back to over and over. It's good. Sometimes it's really good. But sometimes it's regarded as one of Iron Maiden's best releases, and I think that's where it hasn't quite met my expectations.

It's famously referred to as the album where Maiden went more progressive and experimental, not only in song structure but by the use of keyboards. But for me, I don't know. I just can't get into this as easily as I could 'Powerslave' or 'Somewhere in Time'. The commonly referenced keyboards are really nothing more than some backing chords over the guitar harmonies.

Regardless of that however, the musicianship is still of a high standard, and as always, praise goes to Bruce Dickinson's soaring vocals. Despite my thoughts on the album as a whole, there are still some bangers here. In particular, 'Infinite Dreams', 'The Clairvoyant', 'The Evil That Men Do' and closing track 'Only the Good Die Young' are all classic Maiden tracks.

And at barely 45 minutes in length, it's an easy enough album to listen to in one sitting. It's just really not the album I'd choose to listen to in the first place. Sorry Maiden fans. I love the band, and I DO like this album, just not as much as I feel I'm supposed to.

An exclusive look at how this CD came to be:

"Shit guys! The annual fan club CD is due! Quick, chuck some radio edits of our new album onto a disc, that'll do!"

I mean, 'Six Degrees of Inner Turbulence' is a masterpiece, and so there's no faulting the music here, on which is essentially a sampler of said album. But radio edits? As if you'd ever hear of these on any radio stations, anywhere, ever!

'Four Degrees...' is probably one of the most pointless fan club CD's out there, but whatever. It's Dream Theater, therefore it's a must-have for any die-hard fans such as myself.

Opeth is a band that really needs no introduction, so I'll try to keep this brief. They're one of the giants of progressive metal with some of the best albums ever in that genre. Their run from 1996-2008 is nigh unimpeachable.

But ever since Mikael Åkerfeldt decided to move the band away from metal with their 2011 record Heritage, I've been less taken with their music. None of the albums since then have been bad, but they've all just kinda lacked that ineffable spark that makes a truly great record. It's been a lot of decent, fairly heavy retro-prog, but Opeth doesn't really stand out from the field in that particular style. There's even a difference between their recent stretch of records and 2003's Damnation, their first foray into non-metal. Damnation feels much more like classic Opeth than, say, Sorceress. Damnation's contemplative folkiness suits Mikael's voice and songwriting better than his recent attempts at drawing from acts like Uriah Heep and Jethro Tull (or at least Tull's heavier stuff).

The Last Will and Testament, Opeth's fourteenth full-length album, sees the band return to something closer to their classic mid-aughts sound, making this their strongest release in a while. The album tells the story of a wealthy family and their sordid secrets in the form of the reading of the recently-passed patriarch's will. Seven of the eight songs on this record are titled "§1-7".

"§1" has a tense and foreboding opening that wouldn't feel out of place on a song by Åkerfeldt's BFF Steven Wilson. When the verse starts, it's refreshing to hear Mikael growl again, and the increased weight and muscularity of this music is a major improvement over recent efforts. Eerie Mellotron and dashes of jazzy electric piano provide good textural contrasts. 

A sweet string arrangement closes out "§1" before launching into the storming opening of "§2". The organ tone in quieter moments calls to mind Zabriskie Point-era Pink Floyd, providing yet more solid sonic variation to the death metal passages that surround them. Narration of the titular will is sprinkled in. It's part of the story, I understand, but it can still be somewhat distracting. Thankfully, it intrudes relatively infrequently.

"§3" kicks off with a complex and flashy bit of riffage and a bit of jazz flavor. When the verse finally emerges, the rhythm is groovy and rolling. The strings can border on overbearing at moments, but the underlying strength of the composition carries this piece past that distraction.

Jittery bass and a slinky, Middle Eastern-tinged guitar line give "§4" one of the more unique openings on this album. That said, it's also one of the passages that most reminds me of some of their more recent and unimpressive work, especially on Sorceress. About halfway through this song, though, there's a lovely flute solo played by Ian Anderson of Jethro Tull. (Upon looking into it, he also provides the spoken narration on four songs.) "§4" ends pretty strong, with Opeth's heavy and creepy elements trading the spotlight in ways that complement each other.

Things are relatively quiet, though taut, in "§5"'s first moment. Twangy acoustic guitar and angelic backing vocals lend this a unique character within the context of the album. The buildup to this song's metallic section is gradual and natural, and I feel the need to reiterate just how good it is to hear Åkerfeldt's growls in new music. The band incorporates some spooky synth flourishes, and the string arrangements?though again quite forward?feel more appropriately prominent.

"§6" fades in on a slow, growling organ pattern just before high-energy drums give this song an abrupt injection of pep. I really like the contrast of the speedy drumming and more deliberate organ and guitar in these opening moments. The rest of the band eventually catches up, and synthesizer and guitar both get their chance to shine with a pair of flashy solos. An extended quiet section closes things out, and it features some Gilmourian jazz noodling that really helps cool things off.

The will itself (though not the album) ends with "§7". There's an immediate sense of dread in its first seconds. Sparse verses, featuring both flute and narration from Ian Anderson, shifts into what might be my favorite passage on the whole record. A downward synth pattern almost sounds like a siren, adding to the weight of it all. This really feels like a fitting climax to such an important document.

Closing things out is "A Story Never Told". Airy clean guitar turns into a Camel-esque bit of mellow prog (again featuring Ian Anderson's flute). This is the sort of non-metal Opeth excels at. It's contemplative, folky, and melodic. Their attempts at heavier prog on recent releases always felt a little underbaked. They seem all-or-nothing in their musical heaviness.

I went into The Last Will and Testament blind, having purposely avoided the pre-release singles. I also went in somewhat skeptical, based on Opeth's recent track record. I will say I'm pretty happy overall. I wouldn't put this on the same tier as Still Life or Ghost Reveries, but it's an enjoyable return to form for one of the most important modern metal bands.

Review originally posted here: theeliteextremophile.com/2024/11/25/album-review-opeth-the-last-will-and-testament/

After 2011's very acceptable "Fly From Here", which gave Yes' career back some steam, three years later a new release was on the horizon, "Heaven & Earth", the band's nineteenth album and first with Jon Davison on lead vocals replacing Benoit David for health reasons. And the overall feeling the album leaves is that of a wasted opportunity considering the level of its members, with no memorable elements or major attempts to go beyond commonplaces and self- indulgent at times.

The opening "Believe Again" and the resilient "Light of the Ages" are partly spared from the musical orphanage, songs that, although they don't deliver what they seem to promise, have some elaboration and count with the very interesting guitar contributions of Steve Howe, and the beautiful acoustic melody of the emotional "To Ascend" that Jon Davison (yes, it's not Jon Anderson...) sings in the best "Wonderous Stories" style, surely the best piece of the album.

Otherwise, with the very discreet participation of Chris Squire on bass and Alan White on percussion and despite the commendable efforts Howe makes from his place to give more technical richness to the structures, bland and depigmented melodies predominate, such as "The Game", "Step Beyond" and "It Was All We Knew" of accessible AOR- style sonorities, the discreet half-time between soul and blues of "In a World of Our Own", or the jazzy tinges of the concluding "Subway Walls" whose promising orchestrated keyboards by Geoff Downes and some instrumental efforts in between, are not enough to tip the scales positively.

"Heaven & Earth" must be one of the least fortunate albums in Yes' discography, and it is inevitable to wonder how far it makes sense to stretch a brilliant career whose golden years had already passed decades ago.

Expendable.

2/2.5 stars

Review Nº 842

"Pressure Points" is the second live album of Camel and that was released in 1984. It was recorded at the Hammersmith Odeon, London, England, and was also released in the same year. Initially, the album was released only with ten tracks but in 2009 it was released as an expanded edition with sixteen tracks on a double CD. My review is about this last one.

I think we can see some clear similarities between "Pressure Points" and their sixth live album "Camel On The Road 1981". So, let's see why. Both live albums are divided into two distinct parts, the old tracks that belong to the 70's and the new tracks that belong to the 80's. However, while "Pressure Points" is an album more varied with songs from several Camel's studio albums, "Camel On The Road 1981" is essentially a live album based on their eighth studio album "Nude". Buy the other hand, "Pressure Points" is an official live album released in the same year that it was recorded, and "Camel On The Road 1981" is an official bootleg only released in 1997 when it was recorded in 1981.

The line up on "Pressure Points" is Andrew Latimer (vocals, guitar and flute), Ton Scherpenzeel (keyboards), Christopher Rainbow (vocals and keyboards), Richie Close (keyboards), Colin Bass (vocals and bass) and Paul Burgess (drums). Besides them, "Pressure Points" has also, and fortunately, the presence of two ex-members of the band, Mel Collins (saxophone) and their founding member Peter Bardens (organ). But they only appear on a few tracks.

So, my version of "Pressure Points" has sixteen tracks. The first thirteen tracks are the new tracks and the last three tracks are the old tracks. The album is divided into 2 Discs. Disc 1 has nine tracks: The first track "Pressure Points" was released on "Stationary Traveller". The second track "Drafted" was released on "Nude". The third track "Captured" was released on "Nude". The fourth track "Lies" was released on "Nude". The fifth track "Refugee" was released on "Stationary Traveller". The sixth track "Vopos" was released on "Stationary Traveller". The seventh track "Stationary Traveller" was released on "Stationary Traveller". The eighth track "West Berlin" was released on "Stationary Traveller". The ninth track "Fingertips" was released on "Stationary Traveller". Disc 2 has seven tracks: The first track "Sasquatch" was released on "The Single Factor". The second track "Wait" was released on "I Can See Your House From Here". The third track "Cloak And Dagger Man" was released on "Stationary Traveller". The fourth track "Long Goodbyes" was released on "Stationary Traveller". The fifth track "Rhayader" was released on "The Snow Goose". The sixth track "Rhayader Goes To Town" was released on "The Snow Goose". The seventh track "Lady Fantasy" was released on "Mirage".

This live album was the last sign of Camel's life until 1991. It mainly contains pieces from their 80's albums. Even if the majority of the material comes from the 80's, and as all we know, this wasn't exactly a high point in the band's career, a phase in which Camel's albums could no longer match the earlier classics, but the selection of songs is good enough to provide a very good and interesting listening, especially because and fortunately most of the songs are from their better albums of the 80's, especially "Nude" and "Stationary Traveller". Even from what is in general considered the weakest of all studio albums of Camel "The Single Factor", one of the few great tracks on that album is included with "Sasquatch". So, we have here almost all the respective highlights of Camel in the 80's united on one single live album, apart from some tracks from the classic era. The pieces are pretty close to the respective originals, but overall they seem to be played with a lot more pressure, especially Andrew Latimer's cutting guitar comes into its own better than in the studio recordings. The sound quality is good and the booklet contains an interesting outline of the band's history.

Conclusion: As I wrote above, "Pressure Points" has two distinct musical parts, the new and the old tracks. In relation to the new tracks I think we can see some similarity with "Camel On The Road 1981". All the live versions are good but they aren't as different as they should be, and in my humble opinion, they brought practically nothing new to this live album. The old tracks are three of my favourite tracks of Camel and I must confess that they're all great live versions. Here, we have also the participation of Mel Collins and Peter Bardens, which is a value added to this live show. "Rhayader" and "Rhayader Goes To Town" are absolutely great versions and where the main interesting thing on this live performance is the presence of the saxophone of Mel Collins. For me, this is the first time I can hear "Rhayader Goes To Town" performed with the sound of a saxophone. "Lady Fantasy", behind be one of the most beloved tracks of their fans, is the closing theme and is the highest point on this live performance. "Pressure Points" is, in my opinion, a better live album than "Camel On The Road 1981" is. However, it isn't as good to be rated with 4 stars. As happened with "Camel On The Road 1981" lacks to it some creativity, energy and capacity of improvisation. Yet, if you like, as me, of Camel's sound of the 80's and you need to have a live album from that period, "Pressure Points" is a good purchase.

Prog is my Ferrari. Jem Godfrey (Frost*)

It is only two years since Frédéric L'Epée (guitars, synth, chorus), Laurent James (guitars, chorus), Nico Gomez (bass, chorus), and Volodia Brice (drums) released their last album, 'Designed for Disaster', which makes their fifth album the fastest to follow another yet. That might have something to do with the review of that release which Frédéric read where it was compared to America's Sleepytime Gorilla Museum. That led him on a voyage of discovery as that band was new to him, and he realised their singer, Carla Kihlstedt, would be perfect for the work they were doing so he invited her to take on lead vocals. He found himself writing with her voice in mind and providing lyrics with meanings as he wanted her to be driven by them the same way he was.

There is no doubt that many will think of Yang as followers of King Crimson, and their complex, syncopated and polyrhythmic guitars certainly brings to mind Fripp, but only in the sense that they are incredibly experimental and inventive and need immense skill to be able to provide the musicality and melody which turns these into more than just complex finger exercises. The five songs (out of thirteen) which contain vocals feel different to the rest of the album just because the focus is in a different place, but there is no doubt they belong here, and it is difficult for me to say which style I prefer, but the instrumental "Concretion" is very special indeed and at 7:25 is just way too short. This is my first exposure to this French avant progressive outfit but I can see I need to seek out of the rest of their albums as this is very special indeed.

What I have here is the audio of the latest release by Sylvan, which has been released on Blu-ray, double vinyl, double CD and streaming on all platforms. It is a record of their performance on 23rd October 2024 at the Poppodium Boerderij, NL-Zoetermeer, and I expect the film is quite spectacular as the music is pretty special on its own. The line- up has been consistent for quite some time, although they often have additional musicians in the studio, but here we have just the core quintet of Marco Glühmann (vocals), Johnny Beck (guitars), Volker Söhl (keyboards), Sebastian Harnack (bass & bass pedals), and Matthias Harder (drums). It had been two years since the release of their last album, 'One To Zero', and given it had been sixteen years since their only other official live release, 'Leaving Backstage', it was deemed appropriate to capture the night and I am very glad they did.

Sylvan have long been known for releasing wonderfully emotional albums based around great vocals, symphonic layers and melodies, but I don't think I have ever heard them like this. There are some effects brought in here and there to add some additional flavour and nuances, but what makes this such an essential release is the sheer power and angst they bring to the performance, with "Trust in Yourself" from the last album being totally transformed. They remind me of RPWL crossed with Muse and Twelfth Night, and I was not surprised at all to see Yogi Lang had mixed and mastered this. It is not all bombast, they can be restrained as on "Given-Used-Forgotten" (from their 2004 album 'X-Rayed', while we get some songs from the classic 'Posthumous Silence' as well and "King Porn" is an absolutely filthy belter.

In the live environment Glühmann is a revelation, always in control and full of passion and angst, while Beck relishes the opportunity to strut his stuff and show his mastery of styles and Söhl happily switches between providing background or taking the lead, with Harder and Harnack always providing the foundation. There are many people who don't enjoy live albums as much as the studio renditions, but I urge all progheads to listen to this as it is one of the finest of its type in recent years.

Soundscape music like this is so intriguing to me. WHEN is the one man project of Lars Pedersen out of Norway. The man is incredibly gifted at creating these sound collages, mixing them with structured themes at times, and headphone music all the way. I feel that his first two albums released in the second half of the 80's are his high water mark. Actually those first four albums("Black, White & Grey" being the third of those) are important documents as it were of this style of music. His first two are classics, while this one is a step down from those in my opinion. I like how the album covers of his first four have a common theme.

Chris Cutler(HENRY COW and RER Records) and Lars had a chance meeting in the late eighties. This was followed with Cutler helping Lars out here on this 1991 release with the texts of this album, he wrote them. The original album here was released in Norway only by the Tatra Productions label. The next year in 1992 Cutler and his RER Records gave this a world-wide release but not without doing some changes first. Like changing the cover art and adding a bunch of pictures in the thick 14 page liner notes. The pictures are mostly black and white, and of architecture. They also added as a bonus track the over 20 minute title track from the previous record "Death In A Blue Lake".

It's interesting that the next record that Lars recorded from 1992 is back to him alone, and back on Tatra Productions. It says this on the back cover "Black White and Grey has something to do with the destruction of the earth". The explosives and gun fire did sound like WWIII at times I must say. Very apocalyptic sounding. There's also a "thanks" in the liner notes to the Ogle Choir who are on the short track "From White To White". The original recordings for this began in 1988 at Cluster Studios, then finished in 1990 at the Waterfall studio.

The album opens with the 20 minute "Grey(Part I)" and the sounds to start are so faint, I'm tempted to turn it up, but I'm not falling for that again. It's wind as the sound increases. Around 1 1/2 minutes organ and apocalyptic sounds take over. A calm before another rainfall of terror hits us. Sirens around 4 1/2 minutes along with industrial sounds. Vibes and atmosphere 2 minutes later then samples are added before more explosive sounds and gun fire. Beats and a rhythm surprisingly after 10 minutes. And were only half way through! Another calm with piano this time then more apocalyptic sounds then another calm. Silence before 13 minutes. It's over? The world I mean. No, faint sounds arrive before we get this chaotic ending.

The album ends with "Grey(Part II)" at 9 minutes. I like that atmospheric intro and the bassoon after a minute before samples arrive making it interesting. Some haunting sounds then suddenly it kicks into gear. Spoken words before this album ends with atmosphere. Now it's over. A low 4 stars as I feel this is a step down from his first two recordings. Still, this is just so interesting, and for sure headphone music.

Opeth's newest release, The Last Will and Testament, ushers listeners into a sonic landscape that blends their death metal roots with their progressive evolution. Released on November 22, 2024, this concept album weaves a narrative set in the post-World War I era, focusing on a wealthy patriarch's last will and testament, filled with shocking family secrets.

The album's structure is uniquely designed, with tracks titled as sections of a legal document (e.g., §1, §2). This thematic choice enhances the storytelling, immersing listeners in the unfolding drama. Musically, Opeth delivers a blend of heavy, riff-laden tracks and intricate, melodic passages, showcasing their technical prowess and emotional depth.

Standout tracks include "§1 (The Reading)", where Mikael Åkerfeldt's vocals transition from haunting cleans to ferocious growls, setting the tone for the album. "§4 (The Heir)" features guest vocals by Joey Tempest of Europe, adding a unique flavor to the mix. The collaboration with Jethro Tull's Ian Anderson on "§7 (The Revelation)" brings a touch of folk with his flute and spoken word sections, enhancing the album's eclectic nature.

The production quality is top-notch, with every instrument clearly articulated yet cohesively blended. The guitars, played by Åkerfeldt and Fredrik Åkesson, are both crushing and melodic, while Martín Méndez's bass lines add a rich depth to the overall sound. The drumming by Martin Axenrot is precise and dynamic, driving the complex rhythms forward.

Lyrically, The Last Will and Testament explores themes of legacy, betrayal, and the consequences of hidden truths. The narrative is compelling, with each song revealing another piece of the puzzle, keeping listeners engaged from start to finish.

In summary, Opeth's The Last Will and Testament is a tour de force that balances their death metal intensity with progressive sophistication. It's an album that will undoubtedly stand the test of time, cementing Opeth's legacy as masters of their craft.

Recent years have yielded an embarrassment of riches for fans of the many one-offs of European prog, as many have suddenly doubled their output after decades of silence. This is actually a simplistic take on the complex legacy of most such groups, who, during a 20-40 year "absence", even allowing for a lengthy dormancy may have devoted years out of their busy lives to a follow up. For example, Italy's FAVERAVOLA was set to work on a second album to follow their 2006 debut almost immediately only to be beset with one obstacle after another. The story of RPI maestros LETHE is that leader Stefano Fornaroli had a vision for the successor to the excellent "Nymphae" from 1993, but, since the musical version of Calvino's "Il Cavaliere Inesistente" is dedicated to him and he is absent from the production, he may be deceased or, at the least, incapacitated, hardly surprising given the march of days . What one might not expect is that, even with 4 returnees reporting from the "Nymphae" days, this is a musically disheartening affair.

With twelve tracks absconding with 1.2 hours, I am going to give LETHE the benefit of the doubt that they imparted the lyrical and thematic message of the original fantasy novel, but musically this is an unfocused dud. It's inferiority to the exalted "Nymphae" is stark, with not a single standout track or theme upon which to hang the frayed ambitions. They do not try to emulate that long ago classic, but settle for a parody of BANCO and LOCANDA DELLA FATE among others, no small thanks to Giacomo Balzarotti's raspy vocals comparing unfavorably to those of Fornaroli. Even instrumentally the numbers lack the commitment to complete what they started, or start what they ultimately send off, It's LETHE by the numbers and, if the best passages were culled from 8 or 9 of these tracks, it wouldn't look too bad as a long single or very short EP.

The opener is one of the stronger pieces, playing like the one that didn't quite make the cut 30 years ago. The ERIS PLUVIA like title cut offers promise, but tries to run with a second idea that doesn't work nearly as well. "Pagani" is probably the highlight, the closest to being fully realized, though also well under 4 minutes in length, and entirely instrumental.

I have tended to be lenient with many of these long anticipated gifts, but I can only infer that Stephan Fornaroli was the sort of guide who had to be there to inspire, no knock against him, and sadly there is no knight in existence who would bother saving what's here.

This is an interesting example of a formerly-official release from IQ which has since achieved a sort of quasi-bootleg status. Originally, the plan was to just release a very limited number of these at gigs as a means of introducing new vocalist Paul Menel to the fanbase, since the majority of it consists of him singing along to live-in-the-studio rehearsal recordings of Peter Nicholls-era tracks (with a big emphasis on early material which by this point had become harder to find). Then, however, bootleg copies were churned out by nefarious individuals, to the point where most editions of this aren't official.

In the intervening time, the band have somewhat disowned this as a recording which existed for a particular purpose which has now become irrelevant, seeing how Paul Menel had his two studio albums with the band and has since moved on and the fanbase, for better or worse, has made up its mind about his tenure. The fourth side of the original LP release consists solely of silly goof-off tracks - if you only have the later CD releases you're not missing anything on that front and it seems likely they were thrown on solely to avoid having a blank side. The Glenn Miller Medley that closes side three is an interesting little bit of fun, and the rest consists of material which will be familiar to most IQ fans (especially now Seven Stories Into 98 has made the earlier tracks widely available).

It also has to be said that as far as introductions to Paul Menel's vocal style go, this isn't great - it's not that his performance is bad, but there's too many instances where it's mixed a little too low, to the point where the instrumental backing overwhelms the vocal track, defeating the purpose entirely. It's still IQ showing off their ability to reproduce their songs note-for-note, and so I still find it an engaging and entertaining listen, but I'd never rank it above either the proper studio renditions of these songs or the live renditions that have come out over the years.

Even if it's a movie I'm sure that nobody will be concerned about possible spoilers. I assume that everybody knows the story of The Wall,based on extracts from the lives of both Roger Waters and Syd Barrett mixed in the character of Pink, also considering that Syd was an orphan, too.

This is not just another re-edition of the 1979 album, and it's not just a concert DVD. It's a sort of documentary about the ideas and mainly the feelings that contributed in creating the album and the movie. The concert is taken from the 2014 tour (I've been at the gig in Rome) which featured between the huge number of musicians, two great guitarists like the bluesman Snowy White who was in the original tour and features also in Richard Wright's Wet Dream together with G.E. Smith, singer-songwriter other than session musician.

The movie has a long intro starting from the certificate of death of Eric Fletcher Waters, then Roger goes to the Memorial to play "Outside The Wall" on trumpet. The coming of an airplane starts suddenly "In The Flesh". As in the original tour the Wall is partially built. It will be completed during the concert, but the visual effects are, I presume more impressive than in the 80s. Roger is in his "nazi" uniform, metaphor of the war in this case. It's not yet the distressed rockstar of the reprise.

On "The Thin Ice" a photo of daddy is the first dispalyed on the wall followed by a sequence of people killed in different wars or even under terrorist attacks like a firefighter at the twin towers or the young Brazilian guy killed by mistake by the London police.

Everything is red with sequences of children on "Another Brick In The Wall Part 1". Here there's the first "interruption". Roger is inside a car in a rainy day and reads the letter received by his mother informing her of her husband's death. Roger's crying appears sincere, even if it may appear strange: an old man crying for the death of a father that he never knew more about 70 years before.

Back on stage, "The Happiest Days Of Our Lives" has the Teacher, realized from the pictures created by Gerals Scarfe. About 20 children dance and sing the choir of "Another Brick In The Wall Part II" On their shirts is written "FEAR BUILD WALLS". Interestingly Trump and his wall at the Mexican border were still to come, but Roger had already witnessed the IDF brutality against the Palestinians near "that" wall. He cancelled a tour in Israel after that episode.

On "Mother" he plays in synch with a video recorded during the original tour. Quite impressive.

Now Roger is in his car with a friend. speaking about the deaths of both father and grandfather, one in WWI and one in WWII. Again in a graveyard, the one where his grandpa is buried, reading a book. I don't know which one. The sentence that resonates in my mind is "They are objects". Together with him there are two sons and a grandson. The red haired Harry is the one who said "Look mummy, there's an airplane up in the sky" when he was a child. His recorded voice starts "Goodbye Blue Sky" also now.

This is the most controversial part of the show: An airplane drops bombs but they are in the forms of religious, economical and political symbols. I remember the zionists actually calling Roger anti-semite because the David's star was one of the symbols dropped, despite the fact that the christian cross and the half-moon where present as well, together with the dollar and pound signs, the communist symbol and some multinational commercial brands. I have to say that in the last 30 years, he doesn't seem to like any "David", one in particular.

"Empty Spaces" features the animations from the movie. Good choice. It's a pity that the sudden passage to "Young Lust" that's my favorite transition on the studio album, has been sacrificed to the extended version of this song. In the meantime the wall is being built. The Empty spaces are being filled and the band is already disappearing behind it.

?One Of My Turns" starts with Roger in a country mansion, apparently abandoned. Just for the intro, then the stage again, but with "Don't Leave Me Now" there's again the inside of that empty house for a while. On the stage the face of a young woman is bleeding from her eyes and mouth until the whole wall is bleeding.

Roger is in France driving to Italy, crossing the Alps with that friend. It's a quite long sequence that ends in "Another Brick In The Wall Part III".Now only Roger is visible nehind the wall on stage. There's n instrumental reprise of some of the previos songs while the last spaces are being filled. "Goodbye Cruel World" closes the first part of the show. Now the wall is completed. The world is outside.

I know that it's getting too long, apologies...second half

The bar of a dark hotel in France, I suppose. Roger explains the battle that caused the death of his father. It may be historically interesting but it's a bit too long.

"Hey you" starts from this dark place, then on stage but completely behind the wall which is now a big screen for amazing visual effects. "Is There Anybody Out There" follows.

Right left there's a hotel room where Roger, now "Pink", sings "Nobody Home" sit inside. I suppose everybody knows that this song refers to an episode of Roger's true life.

Movie again. Roger has now crossed the Alps and is on the Northwerst of Italy, still chatting with his travel partner. On the wall/screen the moving scenes of parents back from war to their sons are the backgrouind to "Vera". A photo of Vera Lynn appears for a while at the beginning. On "Bring The Boys Back Home" the wall is "painted" with the sentences by .D. Eisenhower.

Roger is finally on the beach south of Anzio (I know that place) watching the sea. The chorus "Comfortably Numb" is sung by Robbie Wyckoff from the top of the wall while Roger is down in front of the public.Dave Kilminster in an excellent Gilmour on the two solos. Roger hits the wall starting a colorful visual effect that prepares the scene through "The Show Must Go On" for "In The Flesh Reprise". The choir is already in simil-nazi uniforms. During the tour a German politician, likely close to the zionist movement tried to cancel the tour accusing Waters of anti-semitism. No German was concerned in 1989 when Roger wore the same uniform after the fall of the Berlin wall,it was clearly an idiotic revenge attempt for Roger's positions in favor of Palestine. The famous pig flies above the public. "Run Like Hell" starts immediately after. It's the most "interactive" moment of the show. If we think that the whole opera was inspired by the distance between the artists and the public it's like the years have given Roger more wisdom.

Big red worms walk on the wall while "Waiting for the Worms" closes the "fascist" saga. The animation on the wall is reminding to "When The Wind Blows", an old movie with Roger involved in the soundtrack Only piano and voice say "Stop"...and the trial is about to begin.

As in the movie, the various characters: teacher, mother, judge, appear on the wall. The effect of the wall turning on itself, showing the internal part is impressive. Roger doesn't sing on many songs, but on The Trial he showed to actually have still his screaming high-pitched voice. On the final, scenes of war are displayed while all the public screams "tear down the wall". And the wall falls down.

Back to the memorial. Roger is alone. He sees the name of his father on golden letters on the wall, together with the other soldiers of his batallion. He sits, like he's parying, but being an atheist he's more likely just thinking. FInally he takes the trumpet again and plays "Outside The Wall". The lyrics are quite different from the album. There's a choir, baked by acoustic guitar and concertina. The images fade into the last act of the concert. The musicians are presented and it's done.

Brilliant musicianship, moving subject and amazing visual effects. Of course, "if you are the kind of I like Pink Floyd but I can't stand Roger's politics...well do yourself a favor and don't buy this DVD".

The bonus material is just a documentary about how the sets were built in Athens and in Buenos Aires. Again, apologies for the length of this review. I'll be shorter in the future

'Re:Free' is an EP by OSI released in 2006, practically an extension of the band's 'Free' studio album from that same year, as it features three reworked by Kevin Moore songs from the album, namely 'GO', 'Kicking' and 'Home Was Good'. Obviously in line with the more experimental nature of the album, the remixed songs on the EP are also very experimental, extended in length and firmly pertaining to the electronic genre that is ever so familiar to Moore. The reworked songs resemble something that might have been done by Ryuichi Sakamoto or has been used as a bonus track on a Massive Attack album. It is in any case an interesting extra release, using as its basis material from the album that has been re-imagined by the artist in a somewhat "choppy" and even glitchy manner, pretty much anticipating the popularization of glitch pop in the 2010s. Especially interesting is the 10-minute remix of 'GO' whose glitchy sounds really suit the style of the original track. An overall nice effort that extends the sonic image of the 'Free' album.

Album number five for this Moongarden offshoot, led by keyboardist Cristiano Roversi and guitarist Davide Cremoni, who also both manage the lunar park. After two initially uneven recordings, the undersea ship's captains have charted a new course towards more convincing waters ever since their 2016 album "Journey Through Mine" and further buoyed by 2020's "Did Swans Ever See God". The arrival back then of singer Guillermo Gonzalez surely raised the periscope on new quadrants to navigate and this latest album stays firmly on path. The new sailors on board are fine recruits, as Marco Croci mans a solid bass anchor, while legendary drummer Maurizio di Tollo is among the finest percussionists in Italy. He will surely tackle the concussive depth charges with his usual technical brilliance. Vocalist Manuela Milanese adds a feminine voice to the crew. The premise is a sea-faring travelogue through the Caribbean, visiting the various differing cultures, using 5 different languages (English, French, Dutch, Haitian Creole and Portuguese) in the process of explain the various ports of call along the way. The suggestion is for listeners to check out the lyrics and join in as fellow passengers on the voyage from one island to another.

The giants of the ocean never cease to amaze, and "Majestic Whales" suggests a prog version of natural contemplation, a metronomic pulse from Di Tollo as well as along infusion of subtle synthesizers and its companion lead guitar, together delivering a fair amount of sullen reflection and courageous spirit. As the theme keeps elevating towards the surface, the spectacle begins truly kicks in, as guest guitarist Roine Stolt launches a luminous guitar torpedo that ultimately hits the mark. peeling off a glittering flurry of notes from his loquacious guitar. Great track, indeed.

"Les Mots Que Tu Ne Dis Pas" is French for 'words that you do not say' and comes as an interesting premise for a luxuriant track that requires a few spins before settling comfortably in the galley. Roversi flaunts his surly organ with rampaging effectiveness, Gonzalez seemingly in a fair amount of angst, as he rages in his mike with tempered hostility, while Di Tollo bashes everything in his way. Suddenly Milanese and the piano join in calming down the crew.

Jangly guitars announce "Limbo of the Rootless", putting Milanese's voice once again at forefront, Guillermo taking over after a while and then the two voices singing in parallel. A church organ solemnly shifts the overall fell into a bluesier ramble, handing off the lead to twirling axe solo that dances and soars as the mellotron wreaks further havoc. Organ fuelled manic operatics, whipping synths and a masterful rhythmic assault gets the sonar hyperactive as the temperature starts to boil. The arrangement dives into a deeper groove whilst still maintaining a steady course, before Milanese's voice reestablishes the original theme with perfect finality. The core of this album is the gigantic 21-minute epic "Suite Atonement", where the crew get to stretch out and flex its muscles. All pastoral sweetness, acoustic guitar, flute and mellotron to begin, in an almost early Genesisian style, both voices blending into the fray, as Cremoni slaps an energetic guitar into the mix, a hushed voice and thumping bass section momentarily remindful of "the Knife", before soaring into more advances sonic glitter. He is often referred to as the Italian Steve Hackett, what with his Moongarden repertoire and Submarine Silence having started out as a Genesis tribute (The River of Constant Change). The arrangement does navigate into stormy weather, as the gale-like winds shudder and shake the metal tube hull, quickly diving deeper into calmer realms (as depicted by an aquatic synth section, all liquid bubbles escaping from the hatches). The band goes through a series of variant transitions where certain grooves can be played out, the organ-bass duet is interesting to say the least, an acoustic guitar echoing in the abyss, the dual Portuguese, Creole and French voices compressed by the cabin pressure, the distant doom of possible disaster, as 'Niet Vergeten' is repeated solemnly (Dutch for 'Do not Forget'). Fearless drunken sailors singing to the moon.

Bonus track "Zena "is an elegant piece of pastoral beauty, whistling synth and more acoustic guitar setting the stage for another Cremoni pirouette on his trusted guitar, adding heartfelt tone and undeniable emotion into every note.

All in all, an enjoyable release that requires one to listen multiple times and imbibe themselves into the narrative and feel a belonging that the musicians are striving to create. As an added extra, the Ed Unitsky artwork is, as per norm, off the maritime charts !

4 thoughtful career choices

The culmination of OSI as a project is 2012's enigmatic 'Fire Make Thunder', the fourth and final installment in the catalogue of Jim Matheos and Kevin Moore's side project. Featuring Gavin Harrison again as on 2009's 'Blood', this is the only album by OSI that has no other contributors or sessions musicians, with Moore handling all vocal duties. Now, 'Fire Make Thunder' is a general stylistic departure from the previous three albums, since it is much more mellow and cathartic, with a strong emphasis on the build-up of each song, featuring just eight really solid tracks. A darker atmosphere and a more profound tonality are to be heard on this record, which has a somewhat urban feel that is not so present on other releases by OSI. The lyrics are as usual cryptic and political, matching perfectly the alienated soundscapes of the album - great examples of what this whole record is all about are the opening and closing tracks, also the longest on the record, namely 'Cold Call' and the 10-minute final movement of the album titled 'Invisible Man'.

Stylistically this is the album that resembles Kevin Moore's Chroma Key project the most, another aspect that could not have been attributed to past records, much more pertinent to the tropes of a Fates Warning album. Yet 'Fire Make Thunder' is the most mellow, most textured and arguably most melancholic and charming listen of the entire four-album discography of the band, which is what makes is quite unique. The songs are yet again very varied and memorable, with other great examples of OSI's strengths being 'Indian Curse' and 'Wind Won't Howl'. All of this is to say that OSI represents one of the most intriguing and important episodes in the history of 21st century progressive rock, albeit a studio-only collaborative project, with the music of Matheos and Moore often transcending genre and displaying a fascinating feel of alienation and melancholy that is truly unforgettable.

Still packed with strong and vibrant ideas, still exuberantly contemporary, sonically unorthodox and experimentally tasteful, OSI's third album 'Blood' is another tremendously well-done entry in the discography of the short-lived project headed by Jim Matheos and Kevin Moore. And obviously with a well-defined and recognizable musical identity, 'Blood' had to further solidify OSI's presence (or rather, existence) as an experimental heavy prog rock project that dares to take the genre a step further, always with a taste for the inventive in the face of the extremely well-conducted blend of heavy riff-oriented music with strong influences from electronica and ambient, resulting in quite an otherworldly, memorable experience. Recruiting then-Porcupine Tree drummer Gavin Harrison as a replacement for Portnoy who had described his previous experience as "frustrating", one can definitely hear a very Porcupine Tree-ish influence this time around - the album is a nearly perfect symbiosis of the earlier heavy, moody sound and the more experimental and programmed songwriting of 'Free', interwoven into the overall dark and ghastly atmosphere of the album, not quite as on an industrial record but still very alternative and rampant, and in a sense, as melancholic and frustrated as a 'Fear of a Blank Planet'.

The fast-paced riffs and the menacing synth explorations of Kevin Moore are certainly elevated by the tremendous performance of Harrison who recorded his parts remotely and never met the core members of the band. Allowing themselves to retrace their progressive roots, OSI focused on writing more daring, intricate and experimental music - the outcome is once again very focused album that exemplifies everything that makes this project special, and with virtually no filler this is arguably the most consistent album released by Moore and Matheos, full of stellar compositions that should appeal to fans of dark and heavy progressive music, drawing upon the usual influences of alternative and electronic music. OSI are definitely more sonically expansive than a Fates Warning, more eclectic than a Dream Theater, and very often as moody as a Pocupine Tree. Particular highlights on 'Blood' include 'The Escape Artist', 'Terminal', 'Radiologue', 'Be the Hero', 'Stockholm' (with lyrics and vocals by Opeth's Mikael Åkerfeldt as well as the title track.

Jim Matheos and Kevin Moore-led project OSI followed up on their debut album with 2006's 'Free', a record that was supposedly not in the plans after the release of its predecessor, but one that found the light of day because of a gap in the schedules of both musicians who would re-join forces and following a similar writing process would go on to share ideas and compose an album of entirely new material for the studio-only prog rock project. Joined once again by Mike Portnoy (this time as a session drummer), bass duties had been handed over to Fates Warning's Joey Vera, a musician both Matheos and Moore were familiar with and found to be a perfect fit. Musically 'Free' expands the explorations of the band's first album but this time there is a greater emphasis on programming and electronics, as the sound of the album is significantly more experimental and focused, almost as if the duo had abandoned the heavier and more progressive aspect sough after on 'Office of Strategic Influence'.

Furthermore, it seems like 'Free' has a much more pronounced tendency for groove and texture, the songs are significantly shorter in length and the build-up of atmosphere and playing around with various sound design techniques are more upfront. The rhythm section is less prominent, a bit more mechanical, which does not undermine the overall sound of the album - the production is once again vivid and professional. The "updated" approach and the greater focus on swiftly introducing more unusual soundscapes and effects leads to several fabulous compositions, many of which are among the best material of the band, quite experimental, moody, not necessarily heavy yet featuring very rampant riffs - the title track, the gloomy 'GO', 'All Gone Now', an explosive track, the drab 'Bigger Wave', and 'Simple Life' are all top-tier OSI songs that display the full extent of the band's musical force. The rest of the material is really good and memorable; there is a large amount of bonus material, too, which is more demo-like, choppy and raw, also quite interesting to hear. A great follow-up for Matheos and Moore.

"I Robot" is the second full-length studio album by UK progressive rock act The Alan Parsons Project. The album was released through Arista Records in July 1977. It´s the successor to "Tales of Mystery and Imagination" from June 1976. Thematically the album is influenced by author Isaac Asimov's science fiction novels about robots and artificial intelligence.

Stylistically the material on "I Robot" is synth/keyboard dominated and futuristic sounding art rock, which occassionally gets complex or structurally intriguing enough to be labelled progressive rock. It doesn´t happen often though, and it´s probably not an album for the hardcore progressive rock listener. The AOR/soft rock direction of the tracks with vocals are sure to scare away listeners like that. "I Wouldn't Want to Be Like You" is an example of that, and it´s a song which could well be played on regular pop/rock radio, but quite a few of the tracks fall under this catagory. All tracks with vocals feature different lead vocalists, which is fully in line with the studio status of The Alan Parsons Project. It was never a project, which was meant to tour or be considered a regular band with a permanent lineup.

"I Robot" is a well produced release, which isn´t a surprise, given the studio experience of band leader Alan Parsons, who is responsible for the sound production. And ultimately it´s the musical performances and the well sounding production which are the most interesting parts of "I Robot", because the soft rock/AOR nature of the material really isn´t that intreguing. The album simply falls between two chairs trying to cater to both an AOR audience and a progressive rock audience. It may have caught the attention of the former but I have a hard time imagining that the latter got much out of this. Still a 3 star (60%) rating is warranted.

The Windmill, a band known for its single tracks, which improves over time. Let's go see it right away.

"Fear" melodic prog metal intro with a strong synth; between power, enchantment and Olympicism; note Stig's enjoyable guitar solo, Erik's vocal opening on a Manichean piano amplifying the musical drama. The voice is well placed, the chorus pleasant; break at 7 minutes with riff and flute, synthesizers for the Scandinavian folk-bucolic atmosphere, on Overhead. It's melodic, nervous, cheerful, a bit on Ritual too; 12 minutes and the Genesisian, symphonic break. Long title that returns to the solemn chorus before the instrumental part and Morten's aggressive flute. Jean Robert's velvety old school keyboard gives in to reminiscences and launches Erik and Stig's guitars; the addition of the sax reinforces the warmth of the yesteryears for the warm finale.

"Calton Hill" very beautiful dynamic ethereal keyboard intro, a guitar riff that comes to look at Toto or even Saga, it starts well; the result finally on a marshmallow rock soul à la George Duke with sax that denotes heavy riff; an anachronistic genre that gives it a new imprint. "I Still Care" delicate piano intro, velvety vocal from Erik, it changes everything; Morten's flute brings delicacy, lightness and rustic contemplation with the organ of yesteryear; chorus with conventional choruses redundant for a new prog more than a heavy prog. "Nothing in Return" nervous drums, aggressive flute, riff to Jethro Tull marked. The vocal looks at Kansas, languorous with its share of choruses. Jean finally uses his keyboards for the rhythmic, Kashmiri prog variation flowing from the source, accompanied by Morten's bucolic flute. The synths return with the guitar riff to give a catchy heavy sound.

The Windmill, with a sound becoming stronger, emphatic, symphonic, alternating delicate passages on the flute and other rhythms avoiding the vintage side. Originally on Progcensor.

OSI is an exciting studio project masterminded by Fates Warning guitarist Jim Matheos and original Dream Theater keyboard player Kevin Moore, originally intended to serve as a progressive metal supergroup that could further develop ideas by Matheos which were later on transformed during the process by Moore through his approach to writing, bringing in a strong influence from electronic music and ultimately redirecting the sound of the entire project. The lineup on their debut release is completed by Mike Portnoy on drums and Cynic bassist Sean Malone, with Steven Wilson making an appearance on one track. The resulting release is expectedly a tremendous mixture of different influences, an album that in many ways redefines progressive rock as it takes its "basic formula" and offers a completely new approach to writing and presenting this style - the blazing guitars of Matheos synchronize viciously with the experimental synths of Kevin Moore, who also sings on the majority of the album.

The prog metal touch is obviously added by the presence of Portnoy and Malone, with the former staying true to his signature technical style of play, always interpreting each composition in a very unique manner, and the latter being heavily influenced by the likes of Mick Karn which obviously brings in another great influence. From the opening notes of the very first track, the instrumental 'The New Math', the listener is introduced to a very organic, heavy sound, similar to early 2000s heavy progressive music, yet somehow more atmospheric, occasionally sounding retro but never really embracing offering a rendition of all too familiar sounds. A true taste of the band comes with the second track 'OSI' as the vocals kick in, adding a particular dimension of the music that makes it even more recognizable. The rest of the album unfolds in a beautiful way as each track presents a different feel, a different aspect of the band's style - Moore's moody soundscapes provide a counterpoint to the raging riffs of Jim Matheos, which renders the entire album as very textured and melodic, which might seem surprising for a progressive metal album. Effective and intelligent use of ambience and technology grace 'Office of Strategic Influence', a tremendously well-conceived and performed album, offering a somewhat redefined heaviness. Occasionally moody and vintage, occasionally experimental and cold, this release really has all the ingredients of an excellent and innovative modern progressive rock album.

There is little doubt that one of the major surprises in the underground prog scene in recent years is the resurgence of Solstice. Originally formed in 1980, they were one of the leaders of the early Neo prog scene, yet while often referenced by others they never truly gained the success they deserved. This dramatically changed with the release of 'Sia' in 2020, the first album with Jess Holland on vocals, since when they have also released the excellent 'Light Up' and have been a constant on the live scene playing prestigious gigs throughout the land. One of these was their return in 2023 to the famous Cropredy Festival some 25 years on from when they first played there, and now we have the double vinyl release of that show.

The line-up for this was Andy Glass (guitar), Jess Holland (vocals), Jenny Newman (fiddle), Peter Hemsley (drums), Robin Phillips (bass), Steven McDaniel (keyboards), Ebony Buckle (keyboards, vocals) and Dyane Crutcher (vocals) who had replaced Gwen Taylor. Although the singers only joined the band in recent years, the rest of the band were in the 'Spirit' line-up in 2010, and there is also a special guest in Clive Bunker who returns to play "Morning Light" (I know Clive will have played that plenty of times when he was in the band, but Peter Hemsley was the original drummer for 'New Life', but as there was nothing from 'Circles' in the set I imagine that is why they had him in for this one).

Andy is a powering guitarist, still cutting through the rest of the band, while in Jess they have a wonderful lead singer, and the use of three-part harmonies is now an integral part of their sound. The fiddle provides cut through when the time is right, the keyboards provide the backdrop for the others to rest against while the rhythm section provides the foundation, the result being a modern progressive rock band who just keep going from strength to strength. Cropredy is my favourite festival as it always has such a wonderfully diverse and powerful set of acts from folk through to progressive, and there is no doubt the crowd were hugely receptive. In front of 10,000 people Solstice demonstrated that more than 40 years since their inception they are growing a new fanbase, and this album shows just how good these guys are in concert. The old material has been given "new life", while the new material is heralding in a "brand new world" as the Solstice of old has transformed into the Solstice of now and long may they continue.

It has been eight years since the last album, which in turn was released eight years on from the previous one, but Sophya Baccini (vocals), Enrico Iglio (drums, percussion, keyboards) and Sergio Casamassima (guitar, bass) have returned with their seventh studio album. There are not many bands which can say the same people have been involved in all the releases, but when Sophya joined Hell's Rider in the Eighties, they became Hells' Rage, then morphed into Orphic before the trio released the debut album as Presence back in 1992. With both Enrico and Sergio having to undertake multiple roles there is no doubt that has an impact on recording time, but there have only been three albums in the last 20 years which is a real shame as here we have a Neo band with RIO tendencies which are very enjoyable indeed.

I am not sure how I missed these guys back in the Nineties as I thought I was aware of most of what was going on in the prog world back then, and was certainly involved with Black Widow, but somehow, I did, and now I wonder just what they sounded like in the early days as this is a load of fun. Their combination of two very different sub genres makes them intriguing, and there is a darkness to the music which is then overlaid with the melodic vocals of Sophya to create something which is modern, classical and timeless all at once. There is a haunting timbre to the vocals, the reverb making them mystical and magical, Gothic and inviting, but with the knowledge it may be dangerous to investigate any further. This is very much an intriguing release which progheads would do well to seek out.

Somewhat amazingly this is the collective's 44th release since their debut back in 2006, which I reviewed back in the day. I have only heard a few of theirs since then, but did review 2023's 'Everyone Is Evil' and this contains many of the same musicians with Dr. Space (Hammond, Mellotron, Modular synth, Octave The Cat, ARP Odyssey, Poly D), Mattias Olsson (drums, congas, Mellotron, Poly D), Jonathan Segel (guitar, slide guitar, violin, Fender Rhodes), Martin Weaver (Microfreek & Roland drum machines), Luis Simões (gong, guitar, noise box), Hasse Horrigmoe (bass), Larry Lush (Fender Rhodes, Mellotron) and KG Westman (sitar, Mellotron, synths).

Unlike 'Everyone Is Evil' which only had four tracks, this time around we have seven, with a total playing time of 136 minutes. OSC are widely known and regarded for their improvisational approach to music and the way they get together and jam their way through recordings which means that while their version of space rock is always instantly recognisable no-one knows where it is going to lead, least of all the musicians themselves. Opener "Skin Walker" is more than 25 minutes in length, and for the most part bassist Hasse Horrigmoe plays the same motif which allows everyone else to move away at tangents knowing the music is being rooted and no matter how far away they go they will never get lost. The drums sometimes stay with, sometimes rip into rolls, the guitars and keyboards are doing their own thing, but Hasse stays locked in with incredible restraint, and it is this which makes this such a stunning introduction.

Some tracks are guitar heavy, others very reliant on keyboards, but it is always OSC through and through, meaning that anyone into enthralling progressive space rock will find a universe here to explore and to drift away on. Very few bands manage to stay true to their roots through so many years, so many albums and so many changes in personnel, but Dr. Space (Scott Heller) has been the guiding force since the very beginning and long may it continue. Yet another wonderful example of free form progressive rock.

It can get a little confusing for the average music fan who is checking into AMON DUUL II's discography, seeing two other bands named AMON DUUL. Lots of connections between these three bands of course. I've detailed the background for them in my review for "Fool Moon" that AMON DUUL(UK) released in 1989. But lets focus here on this version of the band.

AMON DUUL(UK) was birthed after John Weizierl moved to Wales and built an in-home studio. He contacted his former AMON DUUL II mate Dave Anderson, who also played in HAWKWIND, and they would add Guy Evans(VDGG) on drums and Julie Wareing on vocals. And we have a band! This band would operate pretty much for the whole decade of the 80's with their final two releases coming in 1989. AMON DUUL II released one album in the 80's called "Vortex" from 1981, and Weizierl actually plays guitar on a few tracks on that one, and is listed as a guest.

My first taste of this band was their 1981 debut called "Hawk Meets Penguin" with that haunting, black and white album cover with a coffin that has AMON DUUL II written on it. The penguin(Weizierl) standing on it, while the hawk(Anderson) is flying in. That one was frustrating only for the lack of information. I guess Weizierl was frustrated with the music business and wasn't playing nice at this point. I don't blame him when I hear of his experiences. I don't have the followup to that 1981 debut, but I understand they went in a commercial direction, while the debut was very much an old school Krautrock record. There are two tracks on this "best of" release from that second album released in 1984, and they are the two worst tracks on here.

Their third album "Die Losung" from 1989 was pretty good, but a three star album. It was cool though that OZRIC TENTACLE members Joey Hinton and Ed Wynne guest along with guitarist Tony McPhee, and singer Robert Calvert from HAWKWIND. The only real major change with this band came with their second and final release in 1989 called "Fool Moon" where Julie leaves and Calvert takes over the vocal duties. Yes! "Fool Moon" is my favourite album of theirs. There's one track on this "best of" record from "Fool Moon" called "Hymn For The Hardcore" and I believe it's their only track they ever did with sitar on it. They apparently borrowed it from a neighbour.

My favourite track on this compilation is the only track from the debut called "One Moment Of Anger is Two Pints Of Blood". Those vocal melodies from Julie and that true Krautrock spirit make this one standout. I also really like the previously unreleased closer "Olaf(Where's My 20,000?)" at 13 1/2 minutes. It's funny seeing a "best of" album with three tracks worth between 10 and 14 minutes.

Some excellent moments on this one for sure, but that mysterious debut, along with "Fool Moon" are the ones to get in my opinion. This is a low 3 stars.

One of the continual joys of writing about music for so long is that I am contacted by musicians and bands I would not otherwise have come across and that is what has happened here when guitarist Wes Thrailkill asked me if I would like to hear his latest album. Now, from what I can gather from my research, Thrailkill released four albums as Mammoth before changing their name and becoming Thrailkill for 2018's 'Everything Is You'. However the group has had a fluid line-up, normally working as a trio, with Wes being the only constant. But a reunion in 2019 means that what we have here is the same line-up who released 'Polymorphism' in 2014 with Wes again joined by bassist Chase Bryant and drummer Aliyar Kinik.

It is no surprise to hear that Thrailkill have toured with Haken, as here we have complex prog metal which is being taken to new heights. Animals as Leaders are another obvious influence while Protest The Hero also get a look in alongside Steve Vai. This is guitar-driven instrumental music with weird and strange time signatures which sees them take influences like Allan Holdsworth and ram them into a totally different mash-up. Unlike some bands, their take on mathcore is also highly melodic and they don't shred just for the sheer sake of it but when it makes musical sense, which means this is an album which is highly enjoyable and listenable to on the very first playthrough. Apparently, the trio first met when studying at Musician's Institute in Los Angeles back in 2013 and have played hundreds of shows together over the years, and it shows. They can be going down one musical path and then suddenly turn, and it feels like we are listening to a totally different outfit altogether, yet while Wes is dominating out front it is the work of Chase and Aliyar which provide the foundation for the twists and directions the band are undertaking. I am somewhat surprised to have not come across these guys before, and the lack of reviews on PA demonstrates that these guys are flying well under the radar ? hopefully that will soon be corrected and they get the attention they deserve, as this is some album.

London Underground were formed in December 1998 in Florence by Gianluca Gerlini (Hammond, piano, Mellotron), Daniele Caputo (vocals and drums) and Marco Piaggesi (bass), although the origins of the band stretch back to the classic Italian progressive rock band Standarte where Caputo was drummer. Over the years they have released four studio albums and have had various personnel changes with Gerlini being the only constant. 2023 saw them headline the Fruits de Mer summer festival in Wales ? the 19th Dream of Dr. Sardonicus Festival. A 68-minute-long version was then released in January of this year, while I am listening to the six-song 42-minute version which was made available on vinyl by FdeM in August.

To be honest, even listening to this digitally it feels like a vinyl release in that this is music out of time, music which belongs firmly in the Sixties and sounds like it never progressed. Here Gerlini has been joined by Alberto Capelli (guitars), Stefano Gabbani (bass) and Andrea diLillo (drums) but it is fair and correct to say they are only there in a supporting role as this is all about dated keyboards and organs, with the Hammond front and centre. It is taking us back to a time where Brian Auger and George Fame were kings, and we even get a version of "Bumpin' on Sunset" which Auger made famous, while "Fanfare" could have been come straight at us from The Nice and the mighty Keith Emerson. Gerlini plays held-down chords with one hand and must also be using sequencers as there are often two layers of background while he is soloing with his right.

There is something very special about the sound of the Hammond, whether it is in prog, psychedelia or jazz, and in the hands of a master is a dominant force and there is no doubt that Gerlini is just that. There were some wonderful bands at the festival last year, as there is every year, but this recording leaves no-one in any doubt as to why London Underground were the headline.

Contrary to popular opinion vehiculated by many neophyte listeners discovering prog, our beloved genre does not limit itself to exploring only science-fiction, Tolkienesque tales, historical figures or deep philosophical topics. More often than not, the human condition plays an even larger role, as far as sources of inspiration, which explains the existence of a huge genre known as the blues. Classic themes such as love are also the focus of a plethora of neo- prog bands in particular, so it should not come as a surprise, that coping with death of a loved one can also be a source of profound reflection. On the 2006 the Pineapple Thief recording "Little Man", Bruce Soord dealt with the only possible outlet for his pain of tragically losing a newborn child, in a most eloquent musical utterance.

Anne-Claire Rallo was (and still is) in a profound relationship with musician Eric Bouillette who passed away in 2022. There is no book or manual that one can find comfort in dealing with the passing of a lover or relative. It is a deeply personal and often harrowing introspection that can force many tears of anguish as well as endless memories of laughter and joy, each individual learning to cope on the fly. "C'est la vie" sang Greg Lake once, long ago. The way I see it, and found serenity with the concept of loss, is that I choose to focus on the fact that this person has now become eternal. Anne-Claire keeps busy with her Bad Dog Promotions company, as well as forging onwards with Nine Skies, who last year released the splendid "The Lightmaker".

Frant1c is her new vehicle for conveying a fictional tale of two life partners, Charlie and Hope, who wake up one morning to a new and gruesome reality of a ruined and ravaged planet, somehow attempting to survive the pain and horror of starting perhaps from scratch. Its an easy parallel to the inner turmoil that a grieving person carries within them every day forward. Though many Nine Skies collaborators are on board, namely bassist Alexis Bietti, and Johnny Marter on the drum kit, as well as multi-instrumentalist Alexandre Lamia, Anne-Claire has also invited Martin Wilson (Grey Lady Down and the Room) and Helen Tiron (Sun Q) to handle the two main protagonist' microphones.

Bookended by the obligatory prog standard of Prologue and Epilogue, the album sets off on a deeply melancholic ride that will sail through many sonic rivers, lakes and oceans, before finding the eventual "A New Path". Atmospheric colorations highlighted by sublime piano playing, "The Awakening" raises the torn velvet curtain of a new reality and search for survival. With the moving and dramatic "Come Back to Earth", guest lead vocalist Guy Marro delivers a booming performance, as the crying synths swirl in devastated confusion. As perfectly stated by Lazland on his recent review, the stage is set on "People in their Cages" for a sharp rebuke of the current abyss of endless fact-less and opinion-peddling by 'experts' who are nothing more that agenda hawkers of both, if not all stripes, exploring human gullibility by suggesting not to even take the time to verify alternate or opposing sources. A court with only prosecution and no defence! Why need a judge then? Devastated society indeed.

"Where Have You Been "is a glinting track, flush with sullen, sulky and silky vibes, not far from Floydian expanses, what with the impassioned vocals, the synthesized eddies and a furious sax exposure from Laurent Benhamou. Killer track and first single. Perfect setup for the epicentre marathon piece "The Ballad of Peggy Pratt", a 13 minute+ theatrical essay of progressive rock of the highest calibre, telling a tragic story of a genial talent that is self-destructive and bent on catastrophe. The swaying sonics veer from intense to downright raging, forged by some layered and aggressive guitar rants that heighten the ruthless apprehension, to only be reduced to calm serenity by a deeply reflective piano etude. Wilson emotes profoundly, pain effectively depicted in the slightest intonations, 'Paris calls, Moulin Rouge, forgotten soul'. The shimmering lament of the electric guitar shines a thin streak of light (hope?) on a broken heart and a shattered mind. A brilliant extended solo and a number that deserves to be heard by all.

A powerful continuation on "Sweet Confusion" features Eric's recorded violin, a labyrinthine maze of turmoil expressed both vocally and instrumentally, with topsy-turvy extremes from somber to poetic, a pleading vocal duet of impeccable allure, poignant and heartfelt. Magnificent. "On the Run" is not a cover the Pink Floyd classic, even though it possesses enough atmosphere to cover an entire planet, even one that is shattered. The resolute piano launches into a huffing and puffing escapade, Wilson running for his life, chased by a wild posse of galloping guitars. More piano serenity before the resumption of pursuit, with screeching lead guitar bursts from guest Steve Anderson leaving the listener gasping for air. Respite. Reflection. Reason. All these themes are found on the crushing beauty of a simple yet profound arrangement, piano and voices mainly on "Take A Little Time (the Encounter)". The orchestrations are the ideal elevation, taking this duet into the upper reaches of pathos, both vocalists yearning for a higher illustration of their talent, a celestial slice of majestic purpose.

Lessons learned, the hardships conquered one by one, albeit with remindful scars and wounds that will continue to heal for evermore. What options are there? Surrender to misery and self-pity? Or courageously face the road ahead, determined and daring! "A New Path" torchlights the direction one must undertake to fulfill the quest to conquer fear and despondency. And honour those who have loved you and who are watching from above or within, souls that are now guiding you, whispering ongoing resolve into your ear, wanting only to see you strive to be, at the very least, a happy and strong person. A new path is the gift of loving memories that nothing and no one can take away, as long as you breathe in the air and look into your heart. Wake up, there is whole world out there, waiting. 4.5 future realms

My first review of Cardiacs, perhaps my favorite band. The only band I'm in a discord server for, the only band I've read the entire 180+ page thread on Progressive Ears. Who else even has a thread that big, The Flower Kings? Just goes to show Cardiacs have as many genius musical moments worth discussing in their 6-9 (depending on how you count them) studio albums as some bands with dozens. I'm choosing to start at the end of their discography since this is often seen as the least essential, after the two cassette-only debut and follow-up. But in my opinion Guns is amazing and perhaps my second or third favorite Cardiacs album of all on a good day.

Four years after bandleader Tim Smith's tragic death, and 16 years after his medical problems began rendering him unable to play, remaining bandmembers have began playing shows in England called "Sing to Tim." It's also been heavily hinted, if not confirmed, that they're going to release the last album Tim wrote music for, the unfinished double CD LSD next year. Other than the three songs on the Ditzy Scene single, meant for LSD, Guns is the last studio material they put out. A quarter-century ago, before I was even born. In the time since Tim's death, only one new review was written for this album. Only 3 are from the last 10 years, one of those just barely. This album needs more eyes on it.

Spell With a Shell opens it up for us, a very warbly number with a bouncy synth repeating underneath most of the song. The extra vocals from Sarah and Sharon do some fun enhancements to the verses. Whatever instrument comes in near then end to repeat the melody of the vocals is great too. There's Good Cud comes next, a more jaunty track than the last, and one I've seen likened to the King of the Hill theme song. One thing's for sure, it would cause Hank to "Bwaaahh!" if he were fortunate enough to grace his ears with it.

Wind and Rains Is Cold is probably my favorite song on the album. The quintessential prog story of the track I didn't care for as much upon first listen really coming into its own a few listens later. That can be said for this whole album to be honest, but this song had it the strongest. Sarah Smith getting to sing most of it is just grand. There aren't loud distorted electric guitars going wild here, or anything close to being punkish, just an odd little composition that builds until the end while being endlessly charming and pleasant. Makes me think of being cold in England.

Cry Wet Smile Dry is again louder and faster, like the second track, to alternate away from the more pastoral third. This one has some of the most glam-rock flourishes, particularly those little guitar squeals. The lyrics are all from a weird 1800s book, English As She Is Spoke, meant to be Portuguese-English translations, but was written by someone who was just kinda guessing. Some of the phrases are a bit off-putting in a modern context, so be wary I suppose.

Jitterbug (Junior Is A) starts with a country twang before going to a psychedelic rock sound not dissimilar to the stellar ending track of Tim's Spratley's album, Don't You Ail, Flash Sea To Steam. From what I've read from other fans, some love this track and others think it drags the ending soundscape out too long. I think I'm in the latter camp; I love the song but it could have been a tad shorter.

Sleep All Eyes Open er, opens with a reprise of the warbling from the first song, before changing to a new similarly warbly synth line. Another one with particularly glammy guitar squeals, and also a pretty neat little solo before the clapping section. Come Back Clammy Lammy is a WWI romp through their early 1990s sound. The song even has a melodic connection to Day Is Gone, from 1992's Heaven Born and Ever Bright. My favorite parts of this one are of course the parts where they're singing really fast over the sax.

Clean That Evil Mud Out Your Soul is probably my other favorite song on the album. Hard to choose between this one and Wind And Rains Is Cold. Much like that song, this one sounds like nothing else the band ever made. Honestly is sounds almost like some early Dan Deacon. So fast and frantic and pitch-shifted, ooh I love it. I believe all the lyrics come from an old movie.

After a few songs with something to do with eyes (Cry Wet Smile Dry, Sleep All Eyes Open,), Ain't He Messy Though talks about eyes quite a bit. This includes a direct callback to the former, helping the album feel cohesive and interlinked. This one's also a bit Sprately-sounding.

Signs is one of the most conventional-sounding titles of any Cardiacs song, and this song is also probably the most conventional sounding song on the album. Not that I don't still love it, or that it isn't still creative as all get out; it certainly is. Some of the heaviest moments on the album are here. Oh, they mentioned eyes again too. Great song for sure. Song Of A Dead Pest is another slighter affair to follow up the heavy one. It's pleasant but the only part of the album that hasn't gotten near as many repeat listens from me.

Swinging back to the heavy side of things, the bulk of Will Bleed Amen is a wall of sound that feels straight off of 1995's Sing To God. The song builds to a glorious climax that fades out, seeming to end the album? but it doesn't. Yes, there's a secret, super-90s-style hidden track at the end of the CD, Secrets Like Swans I think it's fittingly called. It fades back into an organ and Tim singing a triumphant anthem about something or other. It doesn't matter what, the music is enough to make you feel things on its own. I hope all the people dressing up like a princess in secret (like swans) are able to come out without fear.

The Dog on the cover is from an image of Belka, a Soviet dog that survived going into space. Despite how happy her faces on the cover are, this album marked a somber occasion. So many of the old reviews wish Tim well, and then there's some from the mid-2000s where they didn't even know that this would be the last one. They were eagerly awaiting what was coming next, and now 20 years later we are waiting again, under a much darker shroud. It's a miracle another album could happen at all. For now, though, this being the last one works. It's genuinely amazing. Rest easy, Tim Smith.

The undisguised Floydian influences that constantly hovered over Eloy's sonic universe find their greatest points of intersection in "Silent Cries and Mighty Echoes" (1979), a journey that attempts to explain the relevance of spirituality to transcendence as human beings, and the band's seventh album.

That "Astral Entrance" is a younger sister of father and mother to 'Shine on You Crazy Diamond' in its keyboards and introductory guitars is more than notorious, and that its follow-up "Master of Sensation" is a cousin of 'Sheep', or that guest Brigitte Witt flirts in the "b) The Vision Burning" section of the fantastic suite "The Apocalypse" with the screams of Clare Torry in 'The Great Gig in the Sky', or the lilting "Mighty Echoes" visits at times the farm of the 'Pigs (Three Different Ones)', reaffirm the place where Eloy sought to reflect.

But curiously, and in spite of such omnipresent influence, Frank Bornemann's band managed to create a place of their own and sound like themselves, a little less energised and more spatial than their British references, with Detlev Schmidtchen playing a leading role in building immense cosmic atmospheres from his artillery of keyboards and synthesizers, well amalgamated with Bornemann's arpeggiated guitars and sustained solos, as in the sections "a) Silent Cries Divide the Night" and "c) Force Majeure" of the aforementioned "The Apocalypse", in the intriguing weightlessness of "De Labore Solis", or in the melodic agility of "Pilot to Paradise", a track that also surpasses the average speed that the mid-tempos impose on the work.

"Silent Cries and Mighty Echoes" is undoubtedly a very good album, the third to repeat the line-up that released the most relevant works of the Germans in their space rock vein. At the beginning of the 80's, Eloy underwent a new recomposition of its members (both Schmidtchen and drummer Jurgen Rosenthal left the band), and with that also a rearrangement in their musical approach for the subsequent "Colours".

4 stars

Black Widow Records have long been one of my favourite labels, as Mass not only releases new albums but also looks back in time and reissues albums on vinyl which may not have got the love first time around. Here is has not gone too far into the past as this release by Swedish pysch/prog band Khadavra was released in 2021, but then it was only digitally and now it is available on CD and vinyl which is only right given the quality of the music within. Formed in Gothenburg, this is the third (and currently latest) album by Sebastian Eriksson (guitar, vocals, sitar, Mellotron, synthesizer, percussion), Alexander Eriksson (drums, vocals, percussion, glockenspiel) and Jon Klintö (bass, throat singing, whispers, acoustic guitar) who so far have had a different fourth member on each of the three releases to date, this time that role being filled by Marcus Holmström (keyboards, Mellotron, Moog synthesizer). There are also a few guests, the most notable being Liv Fridén who provides flute on four songs. Having had a look at their FB page I see the fourth role is now Felix Ekholm who provides keyboards and flute so there are some Spinal Tap goings on here.

All three albums have been self-released, and I have not come across the others, but if they are anything like this I am quite surprised they have not been picked up before as here we have a band who are combining space and delicacy with over the top bombastic psychedelia in a manner which reminds me of Blue Cheer and certainly has me thinking the album was recorded no later than the mid-Seventies, as there is just no way it can be coming to us from 2021. It is over the top, it is huge, it feels like the band were killing it in the studio and just letting rip with whatever came to mind and to hand. Early Pink Floyd, Hawkwind, Monster Magnet, Blue Cheer, there is a lot going on here and it isn't always melodic with notes being dragged out of instruments and grabbed screaming into the ether. One can hear the sweat and intensity as they pummel through extended workouts like "Possession" which is sixteen minutes in length and contains both beauty and horror as they switch between ballad and gothic mentality with sweet keyboards and crunching guitars. The song is a workout both for listener and musician, and the way they switch between space rock and pop psych is a wonder to behold.

One can only hope we are going to hear more from these guys who are still active, as this is a blast.

Dream Theater keyboard player Rudess is back with his latest solo album, and while he has often gone down the fully solo path in the past, this time he has brought in That Joe Payne (The Enid) on vocals, Darby Todd (Devin Townsend) on drums and Steve Dadaian on guitar, as well as guest guitar solos from Bastian Martinez. He also relinquished the task of writing the lyrics this time around, as he decided to focus on the music, and asked by his daughter, Ariana to provide them for him which is a nice way of keeping them in the family.

The result is a pleasant release, no more than that, with Payne often spending a lot of time high in the register and falsetto, which provides quite a contrast to the music beneath him which can be quite heavy in nature in places, far more pop in others. I have heard a few of Rudess's solo releases over the years, while of course being very familiar with his work with Dream Theater, and he is rightly regarded as one of the very finest keyboard players in the business, but this album feels to me as if he is just playing it safe. When he allows himself the opportunity to demonstrate his skills it lifts this album to new levels, but unfortunately there is just not enough of this as he is often happy to sit back in the middle of the road and relax while Payne lulls us to sleep with his very high but often emotionless vocals. It is not a bad album, but there are many places where it is just plain boring, and one just wonders what is the point? Possibly he has taken this as a relaxation period in his life, as there is no doubt that his work with DT is way more demanding but for me this is just too twee and he is taken way too much of a backseat to Payne.

I never cease to be amazed how prolific certain artists are, almost as if you cut them music would pour from the wound instead of blood. Here we have Dave Newhouse with his latest solo album where he has had to satisfy himself with providing the material and only playing keyboards, soprano, alto, tenor, and baritone saxes, clarinet, alto clarinet, bass clarinet, piccolo, flute, alto flute, flarinet, accordion, hand drums, marching drums, and guitar plus giving us some vocals. He has also roped in some current and past bandmates in the likes of Paul Sears (drums) and Jerry King (bass, trombone), as well as John Greaves (Henry Cow, Kew Rhône, National Health) and Guy Segers (Univers Zero, Eclectic Maybe Band) and many others.

It is difficult to realise that Dave was a founder member of The Muffins more than fifty years ago, as he is still refusing to settle down and relax with his painting, but instead continues to provide exciting and enthralling music heavily influenced by the Canterbury style of progressive rock with Egg and National Health being important influences. There may be 12 other musicians on this solo release, but only drummer Sean Rickman plays on more than two of the nine tracks, and six of them only play on one, which means that vast majority of work falls heavily on Dave's shoulders. He weaves a musical tapestry of sounds, playing melody after melody on different instruments to create something which is very special indeed. This is music which is enthralling, compelling, always changing and moving, so much so that one must stay the course to hear how the story ends. On "Slouching Towards Bethlehem", he works with Sean and Jerry to create a wonderful backdrop of shifting sounds and then told Ángel Ontalva (October Equus, Vespero) to go nuts on his guitar, providing a wonderful counterpoint to what is happening underneath. This is an essential part of the album, and by far the longest track at 7:39, yet this is the only one which involves Ángel. The next song has vocals from John Greaves which takes the album yet again in a very different direction, and in contrast is not only the most mainstream of all the styles but is the shortest.

It is this switching of styles which keeps the listener fascinated, as the use of different percussion, different woodwind and a wealth of skill and talent means one is never sure where this album is going to go as the only limitation is that of the composer's imagination, and I am not sure he has any limits as the boundaries keep getting pushed. Fans of The Muffins, Manna/Mirage, Moon X or the many other projects with which he has been involved over the years will find a great deal in here to enjoy, as will anyone even remotely interested in the Canterbury/jazz/RIO scene. It may not be the most immediate album in the world, but like a fine wine this is one to savour and not devour all in one go but return to it time and again and let the senses revel in what is in here to be discovered.

This is an album that is little talked about, perhaps due to its distant origin and the brevity of its work (only 2 albums). However, the listening experience of this album is astonishing, since there are very few albums that manage to so forcefully amalgamate so many genres and styles in such a pure and cohesive way.

There are marked moments of metal, jazz, classical music, ethnic passages, Avant-prog, Symphonic Progressive and Experimentation in a series of songs that never cease to surprise one after another with excellent instrumental executions and solos as well as notable vocal performances that close the journey sonorous like few albums can boast, in the glorious "Anne" which has a grandiloquent, pompous and very well achieved ending, masterfully exalting the accumulation of musical elements that this enormous work boasts. It is a shame that its leader left this world a few years ago, leaving the legend of Discus unfinished in the history of RIO/Avant-Prog.

Authentic Masterpiece!

Representing the minority of people who favor Riverside's debut album over their sophomore release 'Second Life Syndrome', I must say that their second studio outing is an unnecessarily drab album that is way too derivative of its predecessor, quite one-dimensional compared to 'Out of Myself' which bolstered a fine balance between heavy and mellow, and with significantly less memorable moments and highlights, in opposition to the general opinion that this is the band's strongest offering. Not to mention the hideous album cover - perhaps reflective of the music and the overall feel of 'Second Life Syndrome'. The Polish proggers followed up their lovely debut album with a record that strongly draws upon the same influences, this time however with a much stronger inclination for a heavier sound, abandoning their more experimental and even psychedelic aspirations, glimpses of which could have occasionally been caught on 'Out of Myself'.

And in an attempt to craft a more rough-sounding album, Riverside had apparently focused on a more guitar-driven riff-based writing, as opposed to the more organic sounds of their debut album, resulting in a less-thrilling experience. The 15-minute title track is arguably the highlight of the album, a fine presentation of the various aspects of Riverside's music, when they successfully integrate their melodic choruses into the dense nature of their often-drab songs. 'Volte-Face' is another good example of how their heavier inclinations may lead to pleasant results, together with the shorter track 'Conceiving You', reminiscent of the band's previous album. Nevertheless, there are many uninteresting moments here (examples would include the opening and closing tracks, 'Artificial Smile', 'I Turned You Down', and 'Dance with the Shadow'), as the band tends to drift away from their focused songwriting into a more technical style of play that does not complement the songs but instead makes up for a much colder delivery. As good as the album is, it has a more monotonous presentation, derivative of the sound of the band's debut album, as mentioned previously and definitely colder and more contrived in execution. Even if the main Riverside ingredients are present, the album is less atmospheric, less organic, or in a word, good but nothing more.

1995's 'A Change of Seasons' is the only Dream Theater release tagged as an EP, despite its whopping playtime of nearly one hour, overclocking the band's first two studio albums. Composed of the 23-minute title track, a Dream Theater classic, as well as four cover songs recorded live throughout the band's early days, this release is significant for the presence of the mammoth epic track, the first long piece of music of such caliber to be released by DT. Capturing perfectly the essence of that 90s Dream Theater sound, this lengthy piece seems to be a thematic continuation in a way to the 'Images and Words' and 'Awake' albums, since the story goes that it could not fit either of those. A story about the cycle of life, the composition goes through seven parts, with long and majestic instrumental passages and a very intelligent and finely done transitions between the heavier and the lighter moments. Musically, 'A Change of Seasons' (the song) bears all the characteristics of Dream Theater's music as heard on both of their preceding studio albums, this time with a very open and strong influence from classic rock and progressive rock acts like King Crimson, Deep Purple, Dixie Dregs, Yes, Kansas, and so on and so forth. A strong piece of music with several gorgeous and memorable moments, from the menacing intro to the winding guitars of 'The Inevitable Summer', exuding a fine balance between the instrumental passages and the ones with LaBrie singing. The live tracks are as good as almost any other Dream Theater live recording; interesting to see them cover a variety of great bands, as they do have a history of covering their favorite songs from the old times, but it is really the title tracks that is the highlight here. Overall, taken as an EP, the length of this release is absurd; had it consisted of just the title track, it would have made much more sense. Yet it is still really good overall, even if the only truly essential material here is the fantastic 23-minute opus 'A Change of Seasons'.

Where to start with this?

a totally unknown Mexican man (at least to me), who released in 2022 one of the best Avant-Prog albums in the world WITHOUT PUTTING HANDS IN, literally, but accompanied by at least 10 musicians whose careers and bands we all know in the scene. This is, to say the least, curious and strange.

What has me writing this review is the astonishment caused by the fact that Mr. Greco Bastián has done it again, but corrected and increased, this time counting on 25 GUEST MUSICIANS, all recognized names from Zeuhl, Rock in Opposition , Avant-Rock and Jazz. Why do these busy musicians say yes to our mysterious friend? I think the answer can only be one and this is the undeniable fact that the guy has enormous compositional skills and a quite personal version of what he considers to be Avant-Prog: a brutal merciless mix of Math Rock, Zeuhl, Avant-Prog. Prog and Jazz surgically mixed in songs that jump unpredictably from one riff to another, alternating at will odd time signatures, measures, scales, arrangements and speeds. It seems that the guy is in a hurry to finish everything because his work is a tornado of sound motifs that follow one another without a single opportunity for rest or respite.

In times when formats seem to be the same on almost all albums, it is appreciated that artists like Greco embark on the adventure of doing things without asking or being guided by what is happening around them. Sure, there are obvious influences in his work, but once I've listened to both albums in one sitting, I think this Mexican already has his own sound and I'm simply curious to see what he can give us the next time.

I am a lucky man (wink to Keith) of owning all of this underrated but hyper consistent artist's work, a bass and guitar man who can also compose with the best of them. Lee Abraham not only gallantly soldiers on with the esteemed Galahad, having replaced fretboard mainstay Roy Keyworth without the slightest bump in the road but he has furthermore released 10 outstanding and extremely highly rated albums, that critics have found unanimously appealing. Especially since 2019's magnificent masterpiece "Comatose", Abraham just keeps on giving steady chapters of undeniable quality. With "Origin of the Storm", our valiant knight has shined his armor brighter than an exploding supernova, as this new set is his finest yet, without the slightest hesitation or doubt. He is also a shrewd judge of talent as his selected and perennial collaborators are some of the finest the UK has to offer. Let us start with the vocals. Are there any finer singers anywhere than Marc Atkinson and Peter Jones? Do you think Clive Nolan needs any introduction? Gerald Mulligan on the drumkit is a phenomenal force of nature, having been a longtime partner in crime with Lee, as well as with stints in Credo and Sean Filkins. His interweaving concussions are in perfect symmetry with Lee's riffs, a technique that made Zeppelin famous, explicitly the legendary Bonham/Page synergy. Pianist Rob Arnold, bassists Alistair Martin and Ken Bryant keep things nice and tight, and Paul Drew adds some guitars. Besides the tremendous musicianship and pristine sound, the main quality of his style are unquestioningly, the penning of some of the most poignant melodies one can possibly dream of. This bewildering album has so many of them, the mind just boggles in subjugation. Secondly, the flow is uninterrupted and rapturous, constantly impressing images and inspirations that keep each track vibrant and heartfelt. Not a single second of impudent fluff or onerous regurgitation, the songs and the instrumental play are immediately impactful.

The instrumental title track has the honour of setting the tone for the set list, a crisp yet thoughtful romp that exudes an overt sense of positive anticipation, both imposing and deeply melodic, as Clive Nolan's keyboards coat the canvas with a myriad of colorations, leaving Lee to scatter his electric paintbrush with flamboyant strokes, the pulse unremitting. The immediate segue into the chugging rhythmic onslaught of "The Same Life" is an immediate steam-roller stunner, that bends into a theme so gorgeous, it just may shed a tear or two. With Pete Jones' powerfully convincing and seductive voice dominating the already off the charts main melody, the listener is frozen in time and space, outright hypnotized by the beauty of this superb track, the first of many glorious moments to come. The lyrics are highly evocative, as we all share this blue planet in common, a cry for ending all of our sorrowful tears. The acoustic guitar hands over the pathos to an ecstatic electric solo that serves only to add even more power to the arching finale, as we should all share the same feeling when listening to this marvel. Stunning. Peter then stamps the folky "Chalk Hill" with a haunting rendition of an emotional journey of melancholy, of a time when life was simple, children playing with giggling innocence, a place where time just stood still. Where are those days now, where have those memories gone? Everything about this piece reeks of nostalgia, for a moment in time that could be so carefree and devoid of negativity. A jewel of prog-folk in the spirit of Albion with sublime harmony vocals that really hit the spot. Another crushingly picturesque melody. "Isolation-Disconnection" harkens back to the more somber pieces of his past repertoire (think 2020's moody "Harmony/Synchronicity" album), expertly sung by a forlorn Mark Spencer (currently the bass player for Galahad). Nolan infuses some dark synth clouds before the brooding guitar onslaught is united with a menacing drum barrage, a broiling organ undertow. A clever departure from all the previous glinting luminosity, the subdued dejection of forcible sequestration, as well as its obvious consequence of negative thoughts and the fears of an ominous future were a time where the Covid pandemic disrupted everyone's lives, with no possible escape. The militant instrumental explosion has no antidote available, an uncompromising internment of sound that has only one purpose to disconnect completely from the world as we had previously known it. Lesson learned, let us not take anything for granted anymore. On the floating embrace of "Hole in the Sky", Atkinson delivers another one of his patented passionate performances, aided by Rob Arnold emoting on the ivories. Needless to stress the quality of the ornate melody, all elegance and intuition, as an acoustic guitar caresses the soul, followed by an electric flurry to underline the need to repair the damage done.

When Peter Jones croons, one listens with bated breath, as his convincing tone is perfectly adapted to the larger- than-life "When I Need a Friend", a profound song that cries out for attention, innocently agreeable to any ear that yearns for uncomplicated devotion, and the unconditionality that only true friendship can provide. Yes, there is a special kind of love that remains pure and eternal, the only one you could possibly depend on. Loneliness cannot prosper if all you need is a mate. Just one is enough. The Beatles and Joe Cocker now have a modern version of their famed message. What a performance!

The epic finale "Siren's Song" is not only the apotheosis of beauty on this disc, and not only of Abraham's extensive career but I daresay, in recent prog history, an anthem of surreal proportions and a surefire label of classic. Needless to repeat my personal admiration of Atkinson's unique set of pipes, here is a man who sings with such passion and integrity that I feel the need to get on my knees in adoration (listen, die and go to heaven) every time he grabs that darn microphone. His display here is lethally urgent, melting the most rabid and robust stone-cold heart into a puddle of glee. But its the details that really leap out, such as the inclusion of upbeat riffing that adds and elevates the power and not the metal, unexpected but most welcome, what with that slight touch of mellotron to hint at grandiose deliverance. A work of genius moment on a masterpiece album.

Unequivocally no contest in getting this on the podium for best album of 2024, even with the absurd competition of an incomparable prog vintage, this album is an exceptional bottle of wine that needs to be ceremoniously sipped, fondly swallowed and permitted to soothe the crowded mind. 5 Seeds of thunder

IMHO, this album was a luxurious peak in the history of Rock in Opposition, as it was not only another effort to keep alive the spirit of the great seventies bands of the genre, but it fused this old school with more modern approaches. If we add to this the fact that the band was made up of pure geniuses, we came face to face with a perfect work, full of intricate and beautiful arrangements, approaches to a twisted alternative rock at the same time that they gave us passages of lavish and contemporary music gloomy.

This album contains the first song that I show to anyone curious to know what Rock in Opposition is about: "Dead Silence", a perfect gateway to this exciting genre.

Masterpiece!

Honorary members of the great French "Lyon Scene", which thanks to a miraculous breed of musicians gave birth to bands like Ni, Poil, Piniol, Ukandanz, Le Grand Sbam, Scherzoo and several more, all bearers of an alternative rock sound adulterated by trends of Avant-Prog, Math Rock, Zeuhl, Jazz, Electronica, Ethnic fusions and lots and lots of experimentation.

This album is a clear example of what we can expect from this swarm of Gallic groups at their maximum power: Dark, aggressive, intimidating rock mood, additions and sound effects that accentuate the bizarreness of their intentions, greetings to Eastern and Balkan musical traditions. and typical of their country, a lot of power in interpretation and too much noise for just 3 human beings.

A true banquet for those of us who love this side of progressive rock, the one that seeks to provoke us, challenge us and even confront us.

A few (many) years ago, Progarchives used to have a shuffle music player on their homepage, so you could browse through their already thousands of records and reviews while listening to and discovering great bands that would usually have slipped under your radar possibly forever.

On one of those occasions, while I was doing something unimportant at home, a song started playing that definitely DID NOT LIKE ANYTHING I HAD HEARD BEFORE. The chords seemed to jump miles from one to another in each measure, the beats became long and short as if they had a will of their own and towards the end (What an end!!) my ecstasy was apotheotic after listening to 3 minutes of a screeching chorus adorning a powerful alternative rock coda that crowned that masterpiece called "Dirty Boy." It's still on my "Best Songs Ever" list.

I wanted to tell this little anecdote to invite you not to miss this tremendous album, an unmissable gem of the genius of Tim Smith and company.

One of the great geniuses of world progressive rock, not yet recognized as he should, gave us in this album a collection of wonderful songs, a vulgar display of power with all the elements that made Cardiacs one of the trademarks of progressive rock in all its forms.

Together with "Sing to God" and "A little man..." it is part of my sacred trilogy by these Englishmen, a perfect trio of aces to enter the fascinating sound universe of one of the most brilliant minds in world rock, IMHO.

We have it all on this album: the strength and irreverence of Punk brought to the irregular terrain of Prunk thanks to complex rhythms, beats of rigorous mathematics, pompous and bizarre arrangements, sardonic and squozoid lyrics, passages of sublime bombastic beauty and total unpredictability in a everything that ties together all the pieces with a mastery typical of one of the most fascinating bands of all time.

Dave Kerman is definitely more than a drummer who uses barbies instead of drumsticks. His musical genius is even greater than that of many of his project colleagues (and boy, has he had quite a few bands in his long career!).

Rarely has the combination of 2 rock combos in opposition been so successful (obviously, I mean "successful" in artistic terms) and has sounded so good for all of us who love the twisted, gloomy and dark cadences of this underground genre. Although there are clear influences of the (precisely) "Totems" of the R.I.O. of the classical period, the technological additions and more modern approach make an important difference that allows us to appreciate this work in all its unique splendor and individuality.

This kind of sound is by far my cup of tea.

How to turn bad timing into good timing, you may ask? Be patient (a rare commodity in our current society it seems), think of the tortoise, not the hare and cross them fingers! Bill Bressler sent me a kind request to review his album a day before I departed for a well-earned 3-week European vacation (meeting 3 prog groups in the process). Bressler is a New Jersey multi-instrumentalist, having sent me his recently released sophomore album. I had seen the name but never got my hands on any material. Upon my return, and after polishing off a few urgent pending reviews, I eagerly addressed his work, in the usual fashion: CD in the SUV during my daily long road trips, so as to imbibe myself in something new that I might like. Reading names like Jacob Hom-Lupo (White Willow), Peter Jones and John Wilkinson (Ellesmere, The Swan Chorus, The Samurai of Prog and solo) immediately gave me perspective, and within seconds I was liking it so much, that the love word kept reappearing like some long-lost paramour. While there are 10 tracks clocking in at nearly 47 minutes, the opus can be definitely viewed as a prog opera, and I suggest following that honoured tradition by printing out the lyrics and follow the story of Maxwell Severin, Mr. Jones and the Girl from Salem.

Well, it begins with the appropriate "An Overture, A Sales Pitch", hinting at the bombast to come and of course, injecting some Jersey humour, what with the deal offer add-on. Electronic pinging, organ ruffles, slashing guitars, parping synths, orchestral tapestry and the mood is set. Toss in some devilish piano, in pairing with a bubbly bass and the 'opera" soars into the upper reaches of one's imagination, a story line vocal and presto! The brief but resilient "A Victory for Science" serves to a moment of playful abandon, a tad quirky yet floating in a shimmering melancholy, underlined by a silky synthesizer foray. Swirling atmospherics not withstanding, the focus becomes acute on "There in Time", highlighted by John Wilkinson's reedy voice that should resonate like that former Genesis percussionist turned lead vocalist, the entire arrangement tight as a drum, with Stephen Goldberg's e-guitar cutting sharply and a ton of dynamics everywhere. Positively raised eyebrow! "Don't Forget" chooses to keep the foot on the pedal with a thumping groove, serpentine keyboard motifs, the Collins vocal style absolutely convincing in the patented neo-prog type, Vin Tabone harsh guitar, idiosyncratic synth loops dancing between the family handclaps.

"St Helen's UK 12-27-1982" keep the proceedings in movement with enough contrasts and creative turns to make the journey continuously palatable. The first is piano led, a bouncy stage for the vocals to continue its explanatory journey, adorned by some topsy-turvy guitar ramblings and a shrewd organ bellow. The piano takes the lead once again, shoved aside by a delicate mellotron on "Salem MA", before the lush Goldberg electric guitar establishes the sweeping melody as Wilkinson does a remarkable Collins' rendition in terms of tone. Both these tracks could have been easily a pieces of "Then There Were Three". The longest track on the program, "Insofar" is the prog fortress on this recording, a whopping tour de force with mounds of huffing /puffing keyboards, sumptuous piano, insane synths, all egged along by pounding rhythmic support, crowned by Wilkinson's pleading and sincere voice, who reiterates into the mike that 'this is bad, very, very bad', even though the number is very very good! "The Girl from Salem" is another highlight piece as it introduces the female voice of Rebecca Farnham in an impassioned context with palpable moods, a witch falsely condemned, with Goldberg peeling off a sizzling ramble on the fretboard.

Another extended composition "It's All We Can Do", piano and voice verse at first, with a hesitant shift into the main instrumental chorus, carved out by the luminous synths and then the guitar follow-up and then, 'the sense of wonder' that crowns the intent. The second part is a lengthy and repetitive 'nanana nana', as the arrangement grows in volume and texture, ripping fretboard inflection to boot, with a swirling church organ outro. Instrumental finale is de rigueur for this neo-progressive opera, putting a highly enjoyable release to bed. "As for McGee" drops the velvet curtain on a fine set of modern/retro selections.

4 instant yesterdays

As I recollect, the first Asia album was the Billboard magazine number one selling album of 1982. Given the progressive rock "pedigrees" of its four members, this success was something of a peculiarity. As I also remember, many elements of the rock and roll critical establishment accused John Wetton, Steve Howe, Geoff Downes, and Carl Palmer of "rolling over and playing dead" for commercial success. Through the lens of the past 42 years, I can comprehend this criticism without removing this album from a singular position in my musical memory.

There is an argument that the album "Asia's" success combined with that of, for example, Yes' "90125," Genesis' "Invisible Touch," and The Moody Blues' "Other Side of Life," re-energized the late 1970's moribund and, ostensibly, bloated genre of progressive rock. As is widely attested by the membership of ProgArchives.com, this juncture in the history of progressive rock is somewhat regrettable. What happened to the Yes, Genesis, Emerson, Lake, and Palmer, and Moody Blues of the "vintage" of 1972?

However, as I have written before, a presupposition of "both/ and" rather than "either/or" may facilitate a more balanced and inclusive view of life.

On the surface, "Heat of the Moment" cannot escape its association with the movie, "The 40-Year-Old Virgin." Or, maybe not. Steve Howe contributes a rather jagged ending solo that disturbs the relatively complacent commerciality of the song.

"Only Time Will Tell" possesses an emblematic melodic synthesizer riff that evokes the milieu of 1982 in which my fiancé visited Notre Dame, IN, during my final semester there for the Michigan/Notre Dame football contest, the first night game ever on the campus. During the halftime show, the Michigan band performed "Only Time Will Tell."

As one ventures further into the album "Asia," its musical "inclusivity" becomes apparent. "Sole Survivor" may have originated as a reaction of John Wetton to the triumph of an Arthur Ashe tennis match. Yet, in its final form, the song contains an instrumental middle section that showcases the percussive precision of Palmer; one might describe Howe's guitar work as "Son of Yours is No Disgrace."

As one "flips the side of the record." "Wildest Dreams," "Without You," and "Cutting It Fine" illustrate Wetton, Howe, Downes, and Palmer's "fidelity" to the genre of progressive rock. Preeminent instrumentally in "Wildest Dreams" is Howe's torrid guitar solo that prefigures the intensity of the ensuing work of Dream Theater's John Petrucci.

Lyrically and conceptually, the song evokes in the contemporary listener acknowledgement of its "prophetic" relevance to contemporary events, within and without the United States: Putin's demonic invasion of Ukraine; the flagitious terrorist attacks of Hamas on Israel on 10/7/23 and the Israelis' ensuing war on Hamas in the Gaza Strip; and, in terms of the popular vote, the anything but decisive victory of Neo-Mussolini in the US presidential election.

Perhaps, oddly, my explicit interest in Asia begins and ends with their 1982 eponymously released effort. Nevertheless, this album does occupy a germane place in my musical memory. Yes, "no pun intended," Tempus Fugit.

Review Nº 841

The Argentinian prog rock band Alas was founded in 1975 when the trumpeter Gustavo Moretto, after the end of his previous band Alma Y Vida, returned to his keyboard skills and teamed up with bassist Alex Zucker and drummer Carlos Riganti. The Argentinian band combined elements of the progressive rock like Emerson, Lake & Palmer with fusion along the lines of Return To Forever. There are also tinges of Argentinian music, especially Astor Piazzolla. They released three albums, a self-titled debut in 1976, "Pinta Tu Aldea", which was recorded in 1977 but not released until 1983 plus a reunion album called "Mímame Bandoneón" in 2003. Their untitled debut album, which is the object of this review, combined Emerson Lake & Palmer influenced keyboard bombastic with jazz rock and Argentinian influences.

So, "Alas" is the eponymous debut studio album of Alas and that was released in 1976. The line up on the album is Gustavo Moretto (vocals, keyboards, synthesizers, flute and trumpet), Alex Zucker (bass guitar) and Carlos Riganti (drums and percussion).

"Alas" has only two tracks, two extended suites, one for each side on the vinyl version. The first track "Buenos Aires Solo Es Piedra" is divided in six parts: "Tango", "Sueño", "Recuerdo", "Trompetango", "Tanguito" and "Soldó". This opening track is a hymn to Buenos Aires. The key role is played by powerful fusion with an emphasis on keyboards, performed with the highest degree of virtuosity with many transitions, a combination of Hammond organ sound with the electric piano and Moog synthesizer, a suggestive fascination of Alas with the early sound of Emerson, Lake & Palmer. This is an avant-garde psychedelic track with generous polyphonic elements of a symphonic rock plan with changeable dynamics. Also surprisingly are the light trumpet solos by Moretto and the chaotic percussion and keyboard cavalcade of chords, at the end. An Emerson keyboard opens "Tango", which offers us a very progressive instrumental theme, which leads to "Sueño", a beautiful song where the voice is accompanied by the electric piano. The most minimalist side of the band arrives with "Recuerdo", which serves as a parenthesis until "Trumpetango", a dynamic part, with the keyboards as protagonists, reminding us of both, Emerson, Lake & Palmer and Return To Forever. The bass is very present, and at the end we can enjoy a beautiful trumpet solo. With an air of tango, "Tanguito" enters. The electric piano reminds me of Emerson or Dave Stewart. With the Hammond organ comes "Soldó", the last part of this fantastic piece.

The second track "La Muerte Contó El Dinero" is divided in seven parts: "Vidala", "Smog", "Galope", "Mal-ambo", "Vidala Again", "Amanecer ? Tormenta" and "Final". We can say that the second suite has a great choral introduction. The technical synth is played in a manner similar to Emerson with the Moog and Zucker's jazz guitar. The performance of the ARP 2600 synthesizer, the prolonged break of the Hammond organ, the rhythm section that doesn't slow down for a long time, the astral sonic effects, the hot drum brakes of Riganti and some other nuances, give to it an extensive concept mosaic, embodied with due skill and talent. It begins with "Vidala", the most beautiful vocal part on the album, wich has a wonderful electric piano accompaniment. The next three parts of the suite, "Smog", "Gallop" and "Mal-ambo", which will delight lovers of the 70's prog, are based on keyboards and jazz rock with lots of changes of rhythm, solos from Moog, Hammond organ and synthesizer. After the verse of "Vidala", the atmosphere is filled with sounds of nature, heavenly keyboards and flute. It's on "Amanecer" with the input of bass and drums that becomes "Storm". The drum solo takes us to the great "Final", with all musicians in their full power emulating again Emerson, Lake & Palmer.

"Alas" has also two small bonus tracks. They were recorded by the members of Alas a year before the main release. "Aire" is a light hearted prog fusion with keyboard flamboyant passages and a perky mood. "Rincón, Mi Viejo Rincón" is in the complete opposite of the previous track. Here we are dealing with a sensual ballad that develops smoothly, without pedalling and kinks. It has a moderate portion of jazz, little symphonic, with a melancholic Moretto's singing.

Conclusion: Alas is an historical band, one of the best artistic projects that Argentine rock has produced. The debut album of Alas is admired by Piazzolla and by all connoisseurs of the good music around the world. This is another band of the 70's, another trio with just keyboards, bass and drums (plus occasional guitars) working in a well known style. So, the comparison with The Nice, Emerson, Lake & Palmer, Triumvirat and Le Orme, is obvious. However, Alas is more committed to the playful, complex part of the Emerson, Lake & Plamer oeuvre, which means the mainly instrumental workouts on the organ and lead synthesizer classical gesture in many thematic variations and reprises. There's singing here and there, but little and inconspicuously. Besides, Alas brings to the style a jazzy bent, beyond also an American Latin touch here and there, setting them apart from the bands mentioned. So, this is a great addition to any prog lover.

Prog is my Ferrari. Jem Godfrey (Frost*)

The 90's were not good to a lot of sub-genres including RPI. Yet there are gems scattered throughout this decade from Italy with NUOVA ERA's "Il Passo Del Soldato" album from 1995 being the crown jewel. The nasty organ and powerful Italian vocals recall some of the legends of the past. IL TRONO DEL RICORDI formed in 1991 and released a 24 minute EP in 1993 as a four piece and all instrumental. For their only studio album released the next year in 1994 they would add a vocalist who will sing in english and he sounds a lot like Gabriel. They also brought in a new drummer as the original drummer exchanges his drum sticks for electronics and effects.

So a six piece here, and the two keyboardists mixed this record, and I should mention the bass player adds sax. There are orchestral bits which I assume are created by the electronics, but they take away from this album in my opinion. There's also a classical bent to the sound with the keyboards at times. Bombast too.

This is a Neo Prog album though not an RPI recording. That was clear during my very first spin of this album back in the summer of 2019. And this is where my expectations were crushed because I saw this as a high rated RPI album released during a pretty bleak time. But it's Neo Prog! And that's okay, I do have some favourites, but no this is not another NUOVA ERA trying to revive the RPI flame. Still, there so much to like here. I get the high ratings but for me 3 stars is just right.

Greco Bastián is somewhat unusual in that while he is a composer he does not actually play any instruments and instead relies on others to complete his vision. In 2022 he released his fifth album, 'With A Little Hell From My Friends', and now he has released his sixth in a similar vein, called 'With A Little Hell From More Friends'. This is quite a list, but is definitely worth including to show just who enjoys his vision: Matt Hollenberg (John Zorn, Titan To Tachyons), Markus Reuter (Stick Men, The Crimson Projekct), Patrick Gauthier (Magma, Weidorje), Marc Ducret (Tim Berne, Bobby Previte), Bernard Falaise (Miriodor, Ensemble Supermusique), Alan Benjamin (Advent, Pekka Pohjola), Paolo Botta (Yugen, Ske, French TV), Rémi Leclerc (Miriodor, Les Projectionnistes), Vincent Sicot-Vantalon (Unit Wail, Scherzoo), Anthony Beard (Ni, Piniol, Scherzoo), The Mercury Tree (Ben Spees, Oliver Campbell, Connor Reilly), Sterbus, Craig Walkner (Far Corner, William Kopecky), Ed Rosenberg III (Jerseyband, Kilter), Juan Belda (Juan Belda Bit Band, Skalectric), Steve Marek (Monobody, Loose Lips Sink Ships), Hakan Almkvist (Ensemble Nimbus, Hans Bruniusson), Jonathan Piña-Duluc Proyecto Piña-Duluc, El Trío), Samo Salamon (Quartet, Quintet), Ivan Rozmainsky (Roz Vitalis, Compassionizer), Salvador Govea (Salvador Govea), and The Villagers of the Legendary Town of San Jamás de los Jamases.

I mean, anyone would be pleased to get Markus Reuter involved, or anyone from French TV, or Ivan, or Alan, or Craig, or Anthony, or Jonathan (all of whom I have reviewed, multiple times) let alone all the above. Also, bear in mind that this is truly a worldwide project with the Mexican bringing together people from America, Europe, South America and Russia. Why Greco is unsigned is just beyond me as here we have a RIO/eclectic/experimental album which is off the wall and probably off the map. Anyone who enjoys this style of music will already know the names of many of those involved, and it is no surprise that we get an album which sounds as if it has been released by Cuneiform or Dur & Doux with influences from Present, King Crimson, Ni, Magma, Frank Zappa and more. It is experimental, it is fascinating, yet while there are different musicians and line-ups on every track there is also a consistency throughout which makes this very special indeed.

I do find it strange Greco has yet to be signed to a forward-thinking label as this is a work of some import which anyone with adventurous musical tastes will get a great deal from. I note that on his Bandcamp site he is offering his complete digital discography for just $18 USD. A bargain not to be missed.

In 2024, Antonis Adelfidis (acoustic & electric pianos, Hammond organ, combo organs, Mellotron, Hohner clavinet, digital & analogue synthesizers, Rheem Kee bass) returned to the world of Zantea. Again we have no bass or guitars, and George Katsanos (acoustic piano, Minimoog, theremin, tape effects) and The Swede (drums) are back on board, this time joined by Bob Katsionis (synth solo on "The Screaming Paradise"), Nikos Tzouannis (acoustic piano solo on "The Sword of Doom") and Apostolis Tsiolis (synth solo on "Take a Sip!"). Three singers return to reprise their roles from the debut album, George Katsanos (Ovaris), Moss "The Boss" Kordakis (Vosar) and Dimitra Preari (Nantou), while Irini Tiniakou takes on a new role, and in total there are nine singers involved this time instead of eight.

Although this is a direct continuation from the debut, with a similar style and approach, there is no doubt that this is a major step forward in all areas. The cover art is far more polished and aligned with music of this quality, and the same goes for the production and performances contained within. There is an improved use of space, the bass has been pulled back slightly in the mix, and overall this is a very different album indeed. With the debut the attention is drawn mostly to the novelty of having multiple layers of keyboards and less on the actual music, yet here it is a very different approach indeed. When the keyboards crunch, they really do, and there is never the feeling of something being missing, something which was far more prevalent with the debut.

This is a very different approach to progressive rock than we normally hear, and given the change between the two releases it will be fascinating to see what we get when Antonis next takes us to Zantea.

Forbidden Myth is a band put together by keyboard player Antonis Adelfidis who is proud to state there are no guitars or bass guitars on this album, which is instead the product of Adelfis (acoustic & electric pianos, Hammond organ, combo organs, Mellotron, Hohner clavinet, digital & analogue synthesizers, Rheem Kee bass), George Katsanos (acoustic & electric pianos, combo organs, digital & analogue synthesizers, vibradoneon, theremin), pianist Nikos Aravanis and drummer The Swede along with eight singers who play the different roles in the world of Zantea, based on a story by Myrto Gregoriadi.

Somehow, the Heavy Prog team on PA have decided that is the right genre for the band to be included, which seems somewhat strange given there are no guitars. Mind you, there is plenty of bass from the Rheem Kee Bass which was one of the first monophonic string bass emulators ? it is only possible to play one note at a time, as if more than one note is played then only the highest one will be heard. I presume this is an emulator given there are so few of these instruments around, but it certainly does not sound as if it is 60 years old. There is quite a dated feel to the album, with plenty of Atomic Rooster influences, and if someone said this was from the Seventies that would be quite believable. It certainly never comes across as a mostly keyboard album, as many of the lines are being interwoven in a way which sounds much more like a band, and in some ways is somewhat reminiscent of Death Organ who released a couple of very enjoyable albums in the Nineties.

What does let this down somewhat is the production and the quality of the vocals, as at the end of the day I listen for music for enjoyment not to recognise how clever it is. The Swede (whoever he is), is a fine drummer and he has an approach which often cuts through the layers to give real cut through, but I cannot help but wonder what would have happened if this had involved someone like Clive Nolan as in many ways it feels like one of his ensemble projects yet without that touch which takes it to the next level.

It is certainly an impressive understanding, and at more than 100 minutes in length there is a lot here to take in with the classic story of good v evil. The booklet details not only the lyrics but who is singing and the plot behind the song, and I am not sure if this is included in the digital version but certainly adds to the understanding. It is quite an epic for a debut.

Growing up, I loved bands like Yes, Genesis and Kansas. More recently, I have discovered other great keyboard- centric progressive rock bands like Glass Hammer and Magenta. I'm thrilled to now add Oddleaf to this select list of elite bands.

Carina Taurer's compositions and keyboard playing are exceptional. Mathieu Rossi is a great flute player, although I wouldn't mind hearing more real flute and less e-flute. The instrumental flute and keyboard section on "Back In Time" is my favorite moment on the album. It should have lasted MUCH longer. Drums, bass and vocals are solid.

Carina's compositional superpower is constantly shifting time signatures within each song. 6/8, 7/8, 11/8, they are all there. The band is tight, and up to the challenge. Consistently good throughout. Easily my favorite album of 2024.

OPETH is a snub to the old progs who shouted at me at the beginning that it wasn't prog because it shouted... And then with time, they praised this group, turning their cutie! So when I heard for some time that it was growling again in the last one, I concocted an intense sequence to listen to it seriously on repeat!! Note that we are on a concept album listing a testament, so no titles just chapters.

1. §1 a clock time is running out, an old dated sound, a growl voice yes we were warned and it will thumb its nose at the progs who didn't like Opeth before, and who had been praising it for 3 or 4 albums; a tune that smells good however of Gentle Giant for the instrumental parts, the growl being soft, contained, the high choirs much more incisive; the symphonic finale to cast even more doubt, I love it, it's Opeth! 2. §2 continues, grandiloquent air, like a Mr Bungle bazaar, hilarious, festive on the circus; the growl that was the prerogative of the group comes back at a gallop, the pads and the riff are played at a gallop; it dies out, jazzy- bluesy air on the Albionesque nursery rhyme, well aren't they Swedish, the buggers? In short, surprise every minute or almost with a superb guitar solo 3. §3 continues, instrumental in the spearhead, a little orientalized; the low choirs come to give enthusiasm on a syncopated air, the Balkan violin imprinting the progressive fusion spirit that suits them well; the mix between the hard typed of yesteryear and the lively bass bordering on disco makes the sound diverse and captivating, on the edge of musical fury, controlled but evil; the cinematic outro with choirs a time just before the apocalypse in this soft non-growled title 4. §4 returns to basics, it's extreme tech prog metal as announced; noise and the Japanese, Achillean break that kills; we think of KITAJIMA, VOLLENWEIDER for these refined, crystalline notes; the pad and the keyboard continue to amaze with a jazzy air with a flute, hold on that of JETHRO TULL passing by; the wave rises and explodes growly-belching, I guess the fright of prog friends. Another ambient break sows doubt again for sharp ears before the heavy fruity experimental finale; a little wind and

5. §5 arrives, like the symphony that resembles it; Mikael speaks there and takes us on a mid-tempo title until the associated growly surge; a deep voice to take as an instrument under penalty of panicking before this musical maelstrom; it tinkers with a phrased voice and its assumed oriental air; wild guitar solo before the orchestral return, the folk-jazzy air worthy of a Zappa before the strong finale then in decrescendo bringing a tortured organ of time on 6. §6 which could be suitable on a Deep Purple, a symphonic Black Sabbath and the zen, ambient, atmospheric, progressive rise; vocal placed on the left, poof not long the growl returns at triple gallop; twirling synth halfway followed by a guitar, the voice settles, becomes musical; final break with the aerial guitar that stands out, the keyboard of time even more, the piano notes launched at the end even more 7. §7 frantic riff, progressive start, undergone break with opera vocal, spoken voice, one would think oneself in the lair of the extreme prog mountain, the one from which animal cries come out; here it is the cry, here it is the classical choir, this piece bewitches or captivates or both; the guitar at one time jazzy, at another time bluesy, the bass all the time heavy, heavy and heavy hard; one begins to get used to this ultimate sound when the bass strikes a metronomic pompous air that will rise again and again, the cinematic air in fashion since the new decade 8. A Story Never Told with the soft, ethereal crystalline guitar, I check yes it is indeed Opeth again on a title named there; flute, piano and syrupy voice for the ageless aerial ballad; a sweetness to clean the ears of those who do not know the true blood of OPETH surely. A beautiful guitar solo all in color comes to shine the cover.

A slap at the end of this year which demonstrates that prog does not belong to the 70s or the 80s but to Opeth, that's written!!

— First review of this album —

A Swarm of the Sun, a sound on post-rock, soft and hard, slow and fast, passing from one to the other over time; a hardcore rock with heavy and gripping crescendos. Smells of Godspeed You! Black Emperor, Sigur Ros, Cult Of Luna, Caspian and Solstafir.

'This Will End In Fire' for the liturgical crescendo, the bewitched voice, the progressive momentum that takes time to make us reach the firmament, an appetizer that flirts with Mono, Godspeed You and God is an Astronaut, full of Gods to reach the celestial. 'Heathen' follows, sounds elsewhere taking the time to settle, the rise is slower, solemn, on a fragile piano, Jakob using his vocal timbre like Jón of Sigur Ros as an instrument; it is the catalyst moment for the explosion of pads and post-typed guitars, leading to the musical mystical ether. A new world with the final trombone. 'The Pyre' for the funeral march with airy drums, in the third the guitars start moving on an emphatic, enjoyable, explosive rhythm, all in softness. The air vibrates, saturates, contracts, the pads are cut off for the apocalyptic finale.

'An Empire' for the perfect eponymous title, the solemn crescendic rise with the piano and the voice, recalling Sigur Ros for the calm beach which literally explodes in the second part in a deliberate cacophony. 'The Burning Wall' changes tempo, fast, louder and aggressive, leading with the use of varied instruments, an infernal musical Mr Cadbury making the speakers vibrate. 'Anthem' seven minutes will be the time to hear Jakob; before it was an oppressive atmosphere, a slow post rock derivation where instruments such as musical saw, organ and trombone were put in the spotlight. The title that reminds us that not every band can claim to be prog, that it takes listening time like here. The dreamlike crescendo is Dantesque in its duration and would not have had the same depth if it had been shorter; in short, an elegiac composition allowing us to be on first-name terms with those above.

A Swarm of the Sun offered a devastating symphony, a mixture of beautiful melancholic rises; pipe organ, trombone, synths and a unique sound for dreamlike crescendos cut with embers, excellent in the genre. Originally on Progcensor.

'The Great Unknown' formatted intro, airy and technical, on fresh Dream Theater that doesn't take itself too seriously; synths in front and Markus with a sensual, unique voice, a good FM rock riff in the distance. The guitar and keyboard solos including a vintage one that follow one another, perfect with this aggressive, heady riff and this progressive variation. 'Ghost Veil' fusion of Dream Theater and a Metallica ballad, Erik's keyboards very Rudessian. The dark tone rises, the syncopated rhythm prints a very pleasant ersatzian sound, fresher and younger than Dream Theater, astonishing. Markus with a high vocal, the swirling keyboard recalling 'Pull me Under'; wet outro. 'V23' launches, big symphonic piano intro, the eclectic keyboard on a typical airy ballad; a radio edit for the easily accessible consensual title with violins smelling of purple marshmallow; outro laughing seagull plunging 'Underwater' into an aquatic arpeggio intro; the keyboards, drums, nervous riff, to recalibrate and give pep. Nervous vocals, on Symphony X then Opeth for the growl voice; calm break redefining their musical creative facilities with a divine guitar solo from Luca. The final crescendo recalls the great hours of the best of Dream Theater without outrageously copying them.

'Mind Flayer' title gets into it with the riff, the prog metal atmosphere making reference; a catchy high voice, choirs, the metal riff, Ayreon's vintage keyboards, the intermezzo with Maciej's percussions and this guitar taken from the famous 'Seven son' by Maiden. A single with the dark outro leading to 'Black Sky: Final Frontier' in 6 parts, epic sequel to the previous album. Instrumental prog metal for 4 minutes with Exodus, an oriental atmosphere with a solo reminiscent of John Petrucci's on Arrival, a play between energetic vocals and explosive instrumentation on Architects, a magnificent cello resting in Lament seconding Markus with an ethereal voice; a thunderous muscular break to listen to, indescribable in Zero with the return of the millimetered growl and a grandiloquent cinematic finale slightly conventional on Rayons de lumière. A stack of drawers, cascading harmonies, tempo changes, effective solos and an imposing rhythmic fluidity for the epic title.

Seventh Dimension signs a major album of progressive metal eyeing Dream Theater, Symphony X, Andromeda, Opeth, Circus Maximus, Forgotten Suns and Ayreon, that makes 7. Social texts, musical images on the hope of dreaming, of traveling thanks to this immortal current. An essential album for anyone who loves progressive metal, which I didn't know before this review, shame on me. Excellent. (4.5). Originally on Progcensor.

Few bands have so drastically transformed the canon of progressive music as Opeth has. Since the '90s, the Swedes have delivered work after work, perfecting their craft while navigating the vast influences that Mikael Åkerfeldt treasures as a devoted music aficionado and tireless innovator. With The Last Will and Testament, we are met with a fully bloomed Opeth?one that, after journeying through the majestic sounds of '70s progressive rock and the brutality of melodic death metal, manages to marry the best of both worlds in an indulgent, abundant masterpiece capable of reconciling their vast and divided fanbase.

Comparisons to Watershed (2008) are inevitable due to the album's intricate complexity, the heavy use of synthesizers, and the triumphant return of Mikael's growling vocals, which have never sounded better. The album's aesthetic, steeped in the 1920s, and its frosty sonic textures demonstrate the band's continued willingness to explore the elegant style first hinted at in In Cauda Venenum (2019). However, this record distances itself from its predecessor with a crisper production that amplifies every section and achieves a more balanced mix.

Yet, all comparisons pale in the face of this album's unpredictability. It traverses a vast range of emotions and tonalities befitting its theme: the melodramatic reading of a patriarch's will, filled with twisted mysteries and sinister plot twists. And who better to guide us through these calamities than Ian Anderson? His vocal and instrumental contributions infuse the album with the progressive spark that lights our way through each paragraph of the testament (§). His flute solo on "§4" is an eclectic moment of madness that contrasts sharply with the solemnity he brings to "A Story Never Told," the album's poignant finale.

Tracks like "§2" and "§5" keep us perpetually off balance with extreme and contrasting passages that perfectly illustrate Opeth's dual nature. From captivating melodies of solemn beauty to the most tense gatherings of diminished chords, the album encompasses acoustic instrumentals, clapping hands (olé!), and synthesizer solos. Joakim Svalberg shines throughout the record, wielding a palette of analog keyboards?Mellotrons, Hammond organs, and more?to craft dense and enveloping atmospheres like a shadowy architect.

The rhythmic duo of Waltteri and Méndez delivers aggressive grooves that elevate the album to another plane with unexpected syncopations, subtle ghost notes, and bass counter-melodies as beautiful as the primary motifs. Both "§1" and "§4" are fundamentally built on their work, generating hypnotic rhythms where bass and kick drum provide a tightly controlled foundation of tension and precision.

Euphoria will wash over fans as they hear the bombastic riffs and visceral growls in tracks like "§2" and "§7." These extreme passages intertwine with baroque sections, jazzy interludes, and moments of acoustic introspection, resulting in a rich, multifaceted musical experience. Every sonic choice breathes life into the vivid images Åkerfeldt envisioned for this musical narrative. The outcome is a wholly synesthetic, cinematic experience.

"§1" introduces all the elements that make this album an instant classic: supersonic grooves, Méndez's profound and contemplative basslines, and Åkesson's evocative guitar work, a wizard of melody. Major chords rising from the shadows establish the album's chiaroscuro tone, paired with the fervent chorus proclaiming, "The last will and testament of father." The echo of the growls?after 16 long years?is etched into memory as a moment of pure joy for Opeth's fans. The string arrangement closing the track is simply breathtaking, a testament to the meticulous detail poured into this masterpiece. Conceptually, the song serves as a framing device for the story, setting the stage in the patriarch's eerie mansion where the intricate narrative unfolds.

"§2" begins brutally, allowing no time to breathe, accompanied by stunning poetry narrating the daughter's tale:

"A child in the night Cursed to survive Love like quicksand And deflowered maid in tow."

The lyrics stand out for their carefully crafted metrics and storytelling, recalling gems like "White Cluster" (1999). A dark melody materializes among the strings, introducing the lawyer (Ian Anderson) who reads the father's confessions?sins that will decisively shape the inheritance and the fate of his descendants. The song weaves between extreme guitars and Mellotrons that complement each other to form atmospheres steeped in malevolence, with Joey Tempest's arena- rock choirs adding a theatrical flair. Amid the misery, an acoustic and synthesizer interlude opens a quasi-psychedelic section reminiscent of The Beatles. Mikael bids farewell with a beautiful refrain, "There is a rising tide of sorrow," marking the 26th instance of the word "sorrow" in Opeth's discography?because why break the tradition?

The third paragraph ("§3") tells the story of the patriarch's polio-stricken daughter. Classy violin arrangements perfectly evoke the postwar era, marked by disease and upheaval. Mikael's vocal acrobatics are spine-chilling, with lines like, "Matrimonial locks, skeleton key," delivering some of the album's most iconic moments. Here, the most astounding atmospheric shifts unfold, and Mikael even takes time to tune his guitar between D and E standard during live performances. Abrasive Middle Eastern melodies and the baroque introduction elevate this track as an exemplar of the album's superior balance and versatility.

"§4" mesmerizes from its opening Mellotron-infused oriental riffs, gliding atop a liquid, modern groove. Mikael's vocals traverse styles, culminating in operatic choruses reminiscent of Freddie Mercury. Harp melodies infuse solemnity, underscoring the patriarch's revelation that the twins are not his sons after all. What follows is an incredible diminished E riff intertwined with Anderson's flute, painting a soundscape that is nothing short of masterful. Åkesson's solo is intentional and melodic, seamlessly blending with the composition. The track concludes with an extended hypnotic riff filled with diminished chords, syncopation, and double bass?a quintessential Opeth moment.

The album's orchestral malevolence continues into "§5," a monster of a track that opens with an energetic acoustic riff seamlessly transitioning into metallic grandeur. Growls emerge and recede amidst frantic transitions and jazzy guitar tinges reminiscent of "Häxprocess" (2011). Synthesizers and pads take the forefront here, massive Mellotrons swallowing the mix in a dramatic homage to Åkerfeldt's '70s influences like Queen and Gentle Giant. The tension reaches a peak as the twins, in despair, confront the presence of the legitimate heiress.

Joakim takes the spotlight on "§6." Its opening, with an epic melody and a hopeful Dm-F-G progression over an unstoppable groove, stands out as one of the album's rare "happy" moments?a welcome respite from the nocturnal miasma. Midway, brutal riffs harken back to Blackwater Park (2001), while a Mellotron choir underscores Åkerfeldt's admiration for Änglagård. A Dream Theater-esque synthesizer solo defies all expectations, culminating in a bipolar melody that oscillates between epic, sublime, and sinister, only to end softly with Gilmour-like acoustic picking.

"§7" enthralls with its deadly beauty, replete with oriental melodies and sheer brutality. Anderson narrates the patriarch's philanthropic gifts?purely sentimental family relics. The track incorporates guttural depth, complex solos, and jazz-infused keyboards, evoking hints of Riverside. Strings accentuate the climax, delivering a slow, painful, contemplative finale.

Finally, the sublime beauty of "A Story Never Told" is simply breathtaking. Without spoiling, it invites listeners to experience this magnificent track, reminiscent of "Isolation Years" (2005) or "Lovelorn Crime" (2019). A melody both familiar and liberating shatters the oppressive atmosphere of the desolate mansion, representing a break from all façades. Its concluding solo is destined for posterity, crowning a ballad that ranks among the finest in the band's 30- year career.

Like the best films, this album concludes with an incredible plot twist, grandeur, and a clear, relatable message: blood is not always thicker than water. Every detail is executed with meticulous thought, inspired by Succession, yet only Mikael could convey such tragedy through music. Challenging but deeply rewarding, The Last Will and Testament showcases Opeth at the peak of their creativity, balancing their dualities with operatic drama and signature flair.

Guest contributions elevate the album further: Joey Tempest (Europe) on choirs in "§2"; Ian Anderson (Jethro Tull), whose voice and flute add new dimensions; and Dave Stewart (Canterbury scene), whose string arrangements provide an additional layer of sophistication. The revitalization of the band, attributed partly to Waltteri's unmatched chops and death metal roots, is palpable. The return of growls feels perfectly integrated into the album's refined style.

To be clear, every Opeth album since Heritage (2011) is excellent, each contributing elements to this magnum opus. Åkerfeldt and company have consistently followed their hearts, evolving with unparalleled artistic integrity. Growls and death metal neither make nor break Opeth. This album transcends such debates.

In conclusion, The Last Will and Testament is Opeth's finest work in 15 years?a living relic that encapsulates the mastery of one of the most significant bands in progressive music history.

Weather Systems, reincarnation of Anathema, offers an atmospheric, post-rock-prog journey.

First Steps: 'Synaesthesia' energetic electro sound, the flame is there; a catchy guitar, Daniel's drums, Soraia as Lee, the killer crescendo with the raging guitar halfway through; a nostalgic piece in continuity that invites you to travel; break with the rain, the piano, having confronted this renewal on a positive spleen. 'Do Angels Sing Like Rain?' repetitive shoegaze, helping to jump; the basic melody that is imprinted with Vincent in a dream on the vocal; the explosion is close to one of the albums from the beginning of the millennium; haunting and hypnotic with an idyllic finale. 'Untouchable Part 3' as a sequel to 'Weather Systems' on the same movement up to the vocals; a sad, moving ballad, with the classical orchestration amplifying everything; sharing nostalgia and progress; the final arpeggio delivering the fatal blow. 'Ghost In The Machine' looped on a metronomic hang; the vocal duo captivates with its harmonies; the hypnotic crescendo and the final haunting guitar. 'Are You There? Part 2' from 'A Natural Disaster' comes out 20 years later, juggling on nostalgia; as much as the original screamed its fragility and emotion in an intense way, here it is a facsimile boosted by Daniel's drums.

Learning to Fly: 'Still Lake' with the crystalline piano then the velvety synth in electro ambiance; Soraia with ethereal choirs on a new-wave air of the Cure before the wickedly cathartic explosion in which Daniel makes his heavy guitar scream on the atmospheric finale. 'Take Me With You' remains in the era of the natural disaster with the typical baby noise; a nostalgic message, her favorite period? Soraia presents this intimate ballad track lit by the echoing piano; to be taken as a sequel with this feeling of floating between memories and the present. 'Ocean Without A Shore' shoegaze atmosphere, distant sounds; a vocoder smelling of 'Closer', an intimate piece before the haunting electronic departure of Riverside where the heady beat gives light in this crescendic push; the fresh and hypnotic electronic prog creates an endless musical overloop. 'The Space Between Us' with 'Biko' or even 'In Your Eyes' in the background, a real work with the ASA as a musical signature from the time when Anathema still existed; a tribal harmony completed with an atmospheric post-rock sound reinforcing dreams, the hope of a new beginning.

Weather Systems released a hypnotic album of alternative prog, '. Daniel continues the adventure by distilling sounds filled with emotion to free himself from the torments of life; an album that gains volume over the course of listening, with an impressive spleen. Originally on progcensor.

'Beach Walker' starts latent, dark and cold, a raw, raw sound reminiscent of Rival Suns, a hint of Riverside, Anathema and the Gathering, it makes a nice soup. A soft tone that swells becoming provocative, hard rock sprinkled with a crystalline piano before leaving on this plaintive flight boosted by Lars' noisy pads. 'Anhedonia' on the same plot, softness that moves in abrupt tone; a slide guitar and a clear piano without affect, as the title states. 'Binary' in an encore repetita with this dark and illuminated piano at the start, musical dichotomy; an ambient, atmospheric mid-tempo, let's note the pure, crystalline, detached sound, let's note the echo caused by this melancholic air full of emotion with the aerial spleen guitar. The feeling of listening to the title in the distance with a contained latency and the mysterious air that I found on the prog albums of Dire Straits. 'The Mind' continues, acoustic guitar on the border between the Spanish side and the US slide; the tone is meant to be bluesy with an austere violin before going on the bewitching vintage heavy air, reminiscent of solos by Lesoir. 'Walk Towards the Sun' for the dark, viscous ballad, with a rarefied atmosphere; Adrian's voice makes you shiver, the rhythm jumps and the solo swoons to provoke emotion and the desire to keep hope.

'Landwaster' robotic intro, electronic with synthetic pads that pile up; a ersatz of basic atmospheric music, a raw voice that searches for itself for a hesitant crescendo, exploding into a tribal air reminiscent of the metallic riffs of Rammstein. 'The Moment I Stopped Caring' with the vibrant acoustic guitar, again the western and the delicate air, an anathematic rock lullaby; a restful title wandering in our minds. 'Hole' as in lack, acoustic guitar and dark violin, haunting voice for the romantic-melancholic ballad. The ode to emptiness, to absence, to the need for presence, an icy melody, an energetic firebrand, an intoxicating solo supported by the classical orchestration and the intimate title of the album: magnificent. 'Plastic Animals' as a devastating finale; a long and slow deadly crescendo that bursts from everywhere, honor to Lars' arms, Adrian's fingers, Brendan's to broadcast this refined piece rising to put in a trance; an epic piece that swells and forces respect by creating frenetic; the acoustic outro symbolizing a better end that will not really take place.

Nine Stones Close releases their second act this year, with meditative lyrics about the guitarist's trauma and the same icy atmosphere as the cover. Originally on Progcensor (3.5).