AMOS KEY were a trio out of Germany who operated from 1973 to 1975 before calling it a day. They were very much an organ driven unit with a strong influence from classical music. I understand they dedicated this record to Bach and Mozart for example, and cover "Toccata" by Bach. And they are likened to ELP, THE NICE, EKSEPTION, TRACE and the like.

Like a lot of up and coming bands AMOS KEY had the opportunity to record a live in studio session with SWF in Baden-Baden. This was performed on July 21st, 1973 and not released until 2010. Although three of the tracks that were played here were put on their only studio album "First key" released the following year in 1974. While there is guitar and bass on their debut album performed by Andrea Gross, he sticks to the bass during these sessions. Gross and Molin the keyboardist composed the music. The drummer Lutz Ludwig played in the band SUB prior to this. And I'm a big fan of SUB, much better than the music here in my opinion.

I have such a hard time with organ driven, classical music. The one track though that stood out, heads and shoulders above the rest was "Knecht-Ruprecht" and that would go on their studio album as well. There are some vocals on this live recording but not a lot thankfully as they take away from the music. I have a hard time even giving the 3 stars here. Just not my music and even the organ work seems so uninspiring.

Iron Maiden provided their last strong album before a series of flops in the 90's with the "Seventh son of a seventh son". The commercial appeal of "Can I play with madness" and to a relative extent "The evil that men do" (the latter being an excellent track though) is weighted up by ambitious epics of the title track. This contains great mellow guitar playing, prog-inspired drumming and tons of inspired metal guitars, be it in the form of riffing or soloing. No wonder that this album became such an influential landmark in the development of prog-friendly power and heavy metal. What is more, it is often acknowledged by pure prog-metal aficionados.

4.5 stars. I would describe Zorn's discography as intimidating to say the least. He has hundreds of releases starting in the late seventies right up to today. The only musician I know to surpass him is the prog-related guitarist BUCKETHEAD who started about 15 years later than Zorn, yet has surpassed him by a wide margin. It's laughable to think that anyone could take us on an album by album tour of Zorn's albums. Just to put this in perspective, I own and highly recommend five albums Zorn put out between 2012 and 2017. And that's only 5 of the some 45 studio albums he put out over that period. Surely Zorn and Buckethead have studios in their homes, because they apparently live in the studio.

One of the keys for me for opening the door to Zorn's world was experiencing the Zorn-led band ELECTRIC MASADA. More ethnic sounding than Zorn's "Inferno" from 2015, or 2017's "The Garden Of Earthly Delights", both trios. Or this record which fits in between those two, released in 2016 "The Painted Bird" has the same trio as the other two records, but adds two more percussionists, one playing vibes and the other congas/ voudun drums. And so this one is unique of the three with the vibes added, and they sound incredible. They bring a warmth and tone to an album that is just so powerful at times. When you see an album tagged with brutal prog, hang on to your hat.

I have a top four, and I love the opener "Snakeskin" which is the longest, approaching 8 minutes. This one settles into a groove 1 1/2 minutes in after being led by vibes and some powerful outbursts to start. The guitar and organ are so impressive here. The drumming 3 minutes in needs to be mentioned as well. Track three called "Ravens" continues the quality and heavy outbursts, but "Nettles" is where they ease up with plenty of atmosphere and vibes. I just am so into the "sound" here. "Night" is my final top four. Depth and heaviness. The guitar is on fire after 4 minutes and man it gets heavy after that.

So the little taste that I have taken from this massive discography that Zorn has created has actually made me feel quite content and happy. Before these records, along with "Mount Analogue" from 2012 and "Interpretation Of Dreams" from 2017 I had only experienced "Naked City" from 1990 which left me unimpressed to say the least. I at least have a sweet spot when I comes to Zorn, and I'm more than okay with that.

"Fables of the Sleepless Empire" is the third full-length studio album by Canadian avantgarde/progressive metal act Unexpect. The album was independently released in May 2011. It´s the successor to "In a Flesh Aquarium" from 2006, which was the band´s breakthrough album.

"In a Flesh Aquarium" was a highly complex, technically well played, and experimental avantgarde metal release and it has received a lot of praise over the years, and not surprisingly Unexpect have chosen a relatively similar sound and approach on "Fables of the Sleepless Empire", although "Fables of the Sleepless Empire" sound a little less chaotic and polished compared to its direct predecessor. The vocals vary between female semi-operatic cleans, male cleans, and a varity of male extreme metal vocal styles (growling, snarling, screaming...etc.). In addition to the vocals, drums, guitars, bass, violin, piano, and samples are the instruments used to create the sound. The instrumental part of the music features elements of death metal, black metal, and symphonic metal, and often features classical music influenced sections or elements. All packed into abstract and complex avantgarde metal structures and dissonance. The tracks are ever changing and they take a while to get into and remember.

"Fables of the Sleepless Empire" features a clear, powerful, and detailed sound production, which perfectly suits the material and which help bring all elements of the band´s music to the listener. Upon conclusion "Fables of the Sleepless Empire" may suffer a bit from not being as surprising to the listener as "In a Flesh Aquarium" was, when it was released, but it´s overall another high quality release from Unexpect, and if you enjoyed the sound of "In a Flesh Aquarium", this one is a safe bet. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

Grace Under Pressure is one of the better albums from Rush's synthesiser-oriented period, which was a stylistic departure which wasn't to everyone's tastes. To date, the main official live release from this era was A Show of Hands, which naturally focused on songs new to the era rather with only Closer To the Heart pre-dating it - as a result, it didn't really reflect their actual setlists of the time.

This live document of the Grace Under Pressure tour redresses the balance by offering something a bit closer to actual concert setlists of the time (though it's a bit truncated at just over an hour long, rather than presenting a full-length show). With more guitar-heavy songs in the mix, this results in a more varied sound than the studio album, though there's still a strong focus on recent-ish songs - the only pre-Permanent Waves tune played in full is Closer To the Heart, and there's a few more fragments present as components of the two medleys which bracket Vital Signs towards the end, and that's it.

Still, the sound here is rockier than that presented on A Show of Hands - the material on that was recorded in 1986-1988, when Rush had gone even deeper into synth territory and had heavily layered their studio compositions to the point where to reproduce them onstage they had to resort to a certain amount of preprogrammed synth parts, curtailing the scope to deviate from the studio renditions of songs and lending a somewhat cold and overly-polished air to proceedings. In contrast, it's apparent here that in 1984 the band were still a bit looser and more organic onstage, which is generally helpful, and so it's quite handy for giving a broader picture of what Rush were doing live in this period.

It's not perfect; the overall sound a bit muffled to me, and the audience is overly present in the mix. At the same time, that very lack of perfection makes this the ideal counterpoint to the overly precise Show of Hands.

After reviewing one release by SWANS' side project ANGELS OF LIGHT, I was encouraged to have a gander at an issuance from the parent group, and that turned out to be "Burning World". In my focused and threadbare 1980s rock paradigm, this possibly atypical MIchael Gira production sits comfortably above what I have heard from noted influence NICK CAVE and strikingly beneath the best work by another perceived (by me anyway) influence the late David McComb of the Australian group THE TRIFFIDS. I acknowledge that McComb itself must have modelled himself after Cave, but with a more rooted approach he was always destined to appeal to me much more. While main squeeze Jarboe helps offset the Gira drone on a few tracks, that is unfortunately all she does since those numbers are generally innocuously forgettable.

This is folkier than I was expecting, with nary a trace of what I would anticipate from highbrow math rock or the documented clout on metal purported of SWANS. Of course, in and of itself this is a plus for me, and on "The River that Runs with Love Won't Run Dry",the MOODY BLUES ish "Mona LIsa Mother Earth, and the poignant "Universal Emptiness" and "God Damn the Sun", Gira's tendency to help us to heaping spoonful upon spoonful of angst is at its peak. Most of the rest offers satisfying glimpses of his dissatisfaction blended with the musical drudgery that is just the wrong side of the tracks from his stock in trade. It's a balancing act handled well but not spectacularly so. Gira's voice is a plus throughout and his level of decline over the next decade and a half is shocking

"Burning World" is a solid collection with sparks aplenty but which doesn't ignite nearly enough to warrant classic status.

Without initially intending to and during the extensive promotional tour for "The Division Bell", David Gilmour and the other members of Pink Floyd decided that it was propitious to include the entirety of the iconic "The Dark Side of the Moon" in the setlist of the shows still to come. And that idea came to fruition with the recordings at London's Earls Court in November 1994 and their subsequent release as "PULSE" (1995), a live double album.

The two sections that make up "PULSE" show the enormous quality and neatness of the trio that survived the bitter quarrels with Roger Waters, with the utmost care for instrumental details (although it is true that Gilmour's voice is perceived as a little exhausted at times), and that counts, as on the "A Momentary Lapse of Reason" tour, with a group of support musicians that enhance and help to sustain even more the lavishness and melodic richness of each performance.

Timeless band tracks like "Shine on You Crazy Diamond", the cosmic "Astronomy Domine", the disturbing "One of These Days" and its astral additions in the middle section, or the mega hit "Another Brick in the Wall: Part Two", intermingle with novelty pieces from "The Division Bell" like the bluesy "What Do You Want from Me", the heartfelt "Coming Back to Life" or the majestic "High Hopes", shaping the first section of the album.

The second section reproduces very faithfully the complete "Dark Side of the Moon", with the addition of the very good guitar solos by Gilmour and guest Tim Renwick and the notorious bass of guest Guy Pratt on "Money", the deep sax of another guest Dick Parry on "Us & Them", and the awakened and boxed guitar solo again by Gilmour on "Any Colour You Like", before the lunatic closing with the impeccably executed "Brain Damage" and "Eclipse"'. The encore was crowned by the delicate "Wish You Were Here" chanted by the audience, the unsurpassed guitar solo on the timeless "Comfortably Numb", and the vocal interplay between Gilmour and Pratt on the escapist and thunderous "Run Like Hell", to the general ecstasy of the venue.

"PULSE" was a renewed communion between Pink Floyd and their audience who, judging by the remarkable success of the tour, did not seem to attach much importance to the absence of the former leader.

4 stars

There is a particularly morbid and even depressive quality to the music of Katatonia's fifth studio album 'Last Fair Deal Gone Down', a peculiarity that characterizes this album much more than any other release by the band, an omnipresent melancholic, dark aspect in the way the album has been conceived and constructed that has never been replicated on the following releases, quite heavy and dark in their own respect, too. However, this release marks an important stylistic shift for the band, as the Swedish outlet led by Jonas Renkse and Anders Nyström swiftly move away from their earlier death-doom and goth tropes towards a more alternative metal direction, with a sound that preserves the gloominess of early Katatonia but the music is given a more contemporary spin. I could imagine how the brooding sounds of this release might have been influential to an extent to Porcupine Tree or eventually Anathema and Pain of Salvation and what they were doing later on in the decade (all of this is in the domain of speculation, of course).

Being the band's fifth album, the sound and production of 'Last Fair Deal Gone Down' are apparently more mature and professional and while Katatonia had been toying with alternative metal on preceding albums, it is this one that truly encapsulated and portrays their new direction. The result is an incredibly solid, diverse and intricate album, much more streamlined and experimental in a way, too, marking what would become the first really solid lineup of the Swedish metal act. The personal themes of the album, linked naturally to band leader Jonas Renkse's experience in life, further allow each song to have a more distinct character as each track becomes a little story on its own, either fictional or reflecting Renkse's personal problems. All this results in an incredibly intense and melancholic album, a cathartic experience that could rarely be replicated by another album or artist. On an album where each track is a highlight by itself, particularly strong and memorable pieces include the opening track 'Dispossession', 'We Must Bury You', 'Teargas', 'Tonight's Music', 'The Future of Speech' and 'Sweet Nurse'. A powerful and emotive release by Katatonia that stands as one of their finest moments.

Review Nº 840

Starcastle is an American symphonic progressive rock band from Champaign, Illinois, which was formed in 1972. It was disbanded in 1987, reformed between 1997 and 2007 and that was re-reformed again since 2018. However, in reality, Starcastle was born in 1969 as St. James. In 1974 they adopted the name Starcastle, and in 1976 the band released their eponymous debut studio 'Starcastle'. While critics point to Starcastle as a Yes' replica, the album was admittedly a hit, especially in the United States and Canada. Since they were a successful band in the beginning of their musical career, they were opening acts for bands such as Jethro Tull, Gentle Giant, Kansas, Boston, Rush, Journey, and some others.

Despite have a sound very similar to that of Yes, in reality their music is a bit lighter, as if they wanted to do something more environmental, more AOR. Their interpretations are clear, precise and well executed. They use the vocals as vocal games, like if they are part of another instrument, thereby losing some of the intention used in the instrumental parts.

After the success of 'Starcastle', their record label Epic decided to entrust the group to Roy Thomas Baker who was responsible for discovering Queen and with whom he produced the first five albums of Queen. So, it was with Baker that Starcastle released 'Fountains Of Light', which is in general considered their masterpiece. The album didn't reissue the same commercial success as its predecessor, yet it sold very well. The arguments at the time were to consider the first one more accessible, while this one with more complex lines eventually decreased their audience.

The band's style is often compared to Yes largely because of the Luttrell voice, which is sometimes indistinguishable from Jon Anderson's, and the arrangements given some resemblance to albums like 'Time And A Word' and 'Fragile'. The lyrics also address Anderson's favourite themes, evoking admiration for nature, high spirits and fantasy. However, the group considers the influence of other styles, notably North American groups like Kansas, Boston, Styx and REO Speedwagon. And indeed, they can meet all this demand with quality by producing a great progressive rock album.

So, 'Fountain Of Lights' is the second studio album of Starcastle. The line up on 'Fountain Of Lights' is Terry Luttrell (lead vocals), Matthew Stewart (backing vocals and electric guitar), Stephen Hagler (backing vocals and electric guitar), Herb Schildt (piano, synthesizer and organ), Gary Strater (backing vocals, bass guitar and Moog Taurus) and Stephen Tassler (backing vocals, drums and percussion).

'Fountain Of Lights' has six tracks. The first track 'Fountains' is the epic track on the album. The album gets off on the right foot and as the ten minute long song winds its way through complex, yet upbeat passages, it becomes an almost irresistible combination. Luttrell really has the capability to mesmerise with his tone and delivery and while he was brought right to the forefront of the Starcastle sound, by no means does he overshadow it. The second track 'Dawning Of The Day' is a bright and airy track allowing the arranging skills of the band to shine through. The keyboards really do rule, especially when you consider this was a twin guitar band, however Matthew Stuart and Stephen Hagler's six string work is still an integral part of what is going on here. The third track 'Silver Winds' continues in the same style. It's a catchy symphonic progressive rock track which just stucks in your head and refuses to get out of there. It has a more commercial feel, but the use of odd rhythm patterns and the synth layers keep it from be a mere AOR song. The fourth track 'True To The Light' adds even more pomp to Starcastle's sound. Schildt is in absolutely imperious from as he conducts and marshals all the other instruments in impressive fashion and the layers of vocals are simply sublime. The fifth track 'Portraits' is a very catchy track that also contains some of the standout guitar work on the album. It's a relaxed track with very beautiful melodies and instrumental sections dominated by the Moog sounds of Schildt, who actually is the most dominant musician in Starcastle's sound. The sixth track 'Diamond Song (Deep Is The Light)' comprises nice melodies, beautifully crafted vocal harmonies, an excellent organ solo, and a great Strater bass playing. With its chorus and multi-vocal parts in a more commercial vibe, they illustrate what would be the third album 'Citadel'.

Conclusion: 'Fountains Of Light' has gorgeous harmonies, bass lines playing as a lead instrument, symphonic keyboard flourishes, excellent guitar playing, impeccable drumming and nice vocals. It's true that it sounds like Yes, but it sounds like the 'Great Yes'. This is as good as anything Yes was putting out in the end of the 70's. But, there is here something more than Yes. There's also an American outlook added with hints of Kansas and a stronger helping of Styx ensuring that Starcastle weren't quite a Yes' pure clone. I don't deny that the keyboard of Herb Schildt, the bass playing of Gary Strater and voice of Terry Luttrell do strongly rely on Wakeman, Squire and Anderson for inspiration. But, when the results are this convincing, does that really matter? This is a classic of 70's American prog rock, really.

Prog is my Ferrari. Jem Godfrey (Frost*)

A very, very strong album that serves as an Anathema redux.

As a long time Anathema fan, I was deeply saddened by all the recent drama which ultimately led to their abrupt disbanding. One would have thought we wouldn't get fresh new music - but this release proves otherwise.

This album is pure class and feels extremely comforting - I've had it on repeat and all of the songs are nothing short of exceptional. Danny's writing is emotionally charged and fitting, but I'm not even going to attempt to dissect the lyrics given they seem to be a function of whatever he's been going through lately. Musically, this is Anathema to a core and delivers in spades (hell, Weather Systems is even named after my favourite album from them - and this seems to continue that mood).

I recommend all Anathema fans listen to this. It carries that same magic that made us fans in the first place.

One thing I'd like to say in closing is that I'd love to ultimately see some form of reconciliation and a reuniting of Anathema (as we previously knew it). While this album is incredible, it's clear that 1+1 = 3 when it comes to the band (the sum of their collective efforts exceeds what they can do individually). Hopefully they can see eye-to-eye one day and we get that. But if not, I'm hopeful Danny continues with Weather Systems and keeps giving us gems like this.

For what is said to be Dream Theater's most commercially-oriented album, 'Falling Into Infinity' actually sits as one of the longest-running releases by the US progressive metal pioneers (at some seventy-eight minutes, precisely the length of a classic double album from the 1970s), as their fourth studio album presents a collection of songs that diverge from the darker stylistic tropes of 'Awake'. Abandoning their signature font for the album cover (which happens to be one of the least intriguing Storm Thorgerson covers), DT also seem to have abandoned their sense of originality on what can generally be seen as one of their more derivative and uninspired albums; and even if the stories around the recording of 'Falling Into Infinity' range from the band being pushed by their label to produce a more marketable album, to them creating exactly what they had wanted to, the entire album seems lackluster in terms of creativity and complexity, compared to its predecessors.

Containing two long tracks and having a total of eleven songs is definitely not a sign of an album that was supposed to be commercially acceptable and more easily marketable in my view. Amidst the difficult and transitory musical climate (for what concerns heavy music) in the late 1990s, the album really positions itself as mere entry in the band's catalogue, a placeholder even. However, despite the difficulties the band had supposedly faced, there are several fine moments on 'Falling Into Infinity' like 'Peruvian Skies', the heavier track 'Burning My Soul', the sole instrumental on the album titled 'Hell's Kicthen' as well as the album closer 'Trial of Tears', sitting at thirteen minutes of playtime. I also tend to enjoy the commercial sound of 'You Not Me', which seems to be an indicator that the band is quite good at writing radio-friendly material. The rest of the album sounds timid and uninspired as well as quite forgettable - unsurprisingly perhaps, most of the songs on here have seemingly not been able to break into the "Dream Theater pantheon".

80's was a very dificult moment to the prog music, Its very common great progressive bands in this moment just forget to be prog, that is not a problem unique of renaissance.

The album have two big problems that make it deserve a " Collectors/fans only "

1°) this is not a progressive album, the effect of 80's on the prog scene, sounds more like abba or something like that

2°) this is a bad album, if you dont care about prog and just look for a nice song, this album barelly have one song that sound good

not a prog album, and a bad non-prog album

Where are the fans of Area, Yugen, Zappa?

I must admit to being somewhat mystified. On a site full of listeners who claim to be fans of Area and other adventurous music, how can so few have found Il Castello Delle Uova? How can there be so few reviews for their work on our esteemed prog-rock site? Well, if a recent post on their social media account is any indication, they're not particularly worried about it. Granted, I'm using the auto-translate to read their Italian-language musings, but they appeared to address concerns that they aren't playing the modern rock game "correctly" to achieve success, that they aren't releasing new stuff often enough or worrying about social media or bowing to press. They instead explain that the muse moves when the muse moves, when inspiration dictates, and much of the rest of the music industry game is not their problem. For the record, their music is certainly well served by something in their collective philosophy because this is some fun stuff.

Way back when I reviewed Appunti Sonori per una Cosmogonia Caotica, I had read that the band appreciated "Area, Crimson, and Woody Allen" among many others. That seemed a perfect informational nugget to me at the time as I felt their music blended technical ecstasies with a sense of humor. I feel like these guys could possibly be Zappa fans as well. Founded in 1999, the band refer to themselves as "post-prog." They are an eclectic, party-fizzed concoction of jazzy explorations for the demanding, adventurous music fan. They have returned here with their follow-up studio album entitled L'enigma del Capitale, and it is another wonderfully strange collection of unbridled, no-rules, collaborative rock. There is one difference of note between the two studio albums, and that is that the first album had quite a lot of horn whereas this one does not.

Capitale swirls out of your speakers, some kind of vortex of keyboard/guitar experiments with boisterous Italian vocals both sung and spoken, wandering, mischievous piano, and a hoppin' rhythm section. There are also the driving, angular rock sections, avant-jazz jams, spacey breathers, and frantic (or sometimes ambient) loops. There are sections of huge, ringing distorted chords with blistering, wild leads over them, not unlike playing that Zappa, Vai, or Satriani might approve of. It's often a very busy, dense listen. The first album may have a looser feel with more spaces for respite, though I like the fact that this one doesn't have the horns. Either way, ICDU is a must if you are a lover of daring rock music. Both studio albums are excellent, so which one should you check out first? I would advise this. If you love high profile trumpet playing in your rock music, get the first album. If you're not big on brass taking space away from your lead guitar, get this one first. Either way, crank 'em up loud---this is saucy stuff.

If you enjoy classic-era symphonic prog rock, but with a modern touch, then the wonderful debut release from the French progressive rock project Oddleaf is highly recommended. Where Ideal and Denial Collide is a compelling album full of epic, richly layered, sumptuous and dream-like compositions that mix the timeless prog of Yes, Camel, Genesis, Renaissance and King Crimson, with more contemporary influences such as Wobbler, Agusa, White Willow, Mostly Autumn, Monarch Trail and Big Big Train. The use of vintage keyboards, such as the Mellotron and Hammond organ, defines the lush and luminous musical soundscapes, but the inclusion of electronic and acoustic flute, four-part vocal harmonies and expressive female vocals in English, add a pastoral beauty and depth that draws you into the music effortlessly. The band started in 2020, with Carina Taurer (keyboards) and Matthieu Rossi (flutes) moving on from their early/medieval classical music and developing more progressive rock-orientated compositions. Joined in 2021 by Olivier Orlando (guitar and bass) and Clement Curaudeau (drums), the final piece of the jigsaw was completed with Adeline Gurtner, replacing the original vocalist Olivier Marcaud in 2023 ' accentuating the more feminine aspect of the band's music. Where Ideal and Denial Collide represents the culmination of four years of hard work and is a truly wonderful symphonic prog rock album. There is a cohesiveness to the album, with each track musically and lyrically connected by ecological and humanistic themes ' celebrating the majesty of nature, whilst questioning humanities place within it. Even the impressive CD artwork is a link to several songs on the album.

The Eternal Tree is the short opening instrumental, full of atmosphere and darkly dreamy instrumentation. Carina's repeating piano pattern is steadily built upon by deep keyboard chords and then some swirling synths over an insistent beat, with flute notes and a subtle folk-like character developing. It is a well-pitched, cinematic introduction into the music to come, and flows into the first of several extended epics on the album. Life begins with ethereal vocal harmonies mingling with some lovely keyboards, while Olivier's deep bass and Clement's drums push the music through to Adeline's lovely and warm lead vocals, which float smoothly above the dense instrumentation. The intelligent, poetic lyrics conjure up the birth of planet Earth and its development over 4 billion years, along with Mother Nature's endless cycles of growth and renewal, despite the efforts of mankind to disrupt it. 'Precious life, endless birth, This is our Mother Earth, Water, air, desert, snow, Let's fight for her, because'' Musically, it ebbs and flows, with dreamy and delicate passages transitioning into complex, intricate and chaotic sections with retro stabs of Hammond organ, as the bass and drums power through. The sound of water and birdsong are joined by Mathieu's pastoral flute, with piano and vocals then taking the track to a satisfying and thoughtful conclusion, as the winds of time blow.

Ethereal Melodies is a lovely folk-drenched slab of melodic prog, with some initial acoustic guitar and infectious, madrigal-like flute providing a soothing rustic feel to it all, which reminds me at times of the Swedish band, Agusa. Adeline's singing almost has a feel of Magenta's Christina Booth at times and the backing vocals, keyboard wash and piano support her so well. The evocative lyrics, written by Mathieu, seemingly transport us deep into ancient woods and the journey from a seed deep in the ground to the splendour of a fully grown tree. However, the tree is an allegory for the world, representing humanity. Carina tells me that the leaves, twigs and branches represent individuals or groups of individuals in society, and the golden or 'odd' leaves (hence the band name) represent those who try to open the eyes of others to the hope of change, unity, coexistence, respect for nature and the desire for renewal in our society. 'Ethereal Melodies, From millions of my leaves, Are spreading hope and peace. The only way for me, Guardian of the prophecy, For I'm the eternal tree.' It is a revolutionary, but peaceful message, delivered within a wonderfully accessible slice of symphonic prog, and a good choice for the album's promotional single. The uplifting guitar solo from Oliver towards the end provides a lovely focus to the music before the synths take us through to a contemplative and serene conclusion. A slightly shorter, clip edit of the track is also available on the album download.

The longest epic on the album is the melancholic and multi-faceted Back In Time. Composed back in 2021 during the pandemic lockdown period, the lyrics follow a woman looking back nostalgically at the past, childhood, family and the simplicity of life, in sharp contrast to the fear and isolation of her present life. The music accompanies the story well, starting with emotive and atmospheric keyboards and vocal harmonies over poignant flute lines, before slightly disturbing piano notes and a rhythmic build-up set up Adeline's longing vocals begin. 'Bring me back in time, Take me through the tunnel of life. Bring me back all this colours of a long gone past. Bring me back to a simple life, Please take me back in time.' There is a breezy, jazz-like interlude with flute and Hammond organ sounding a touch like Focus to these ears, before a return to the reflective main theme. The spoken, questioning words of Dan Curtis, enhance the unsettling feeling building up, with the instrumentation switching from intricate and complex, to a slower, more plaintive ambience. Sadly, the woman's journey into the past has seen her slowly sink into madness, and the yearning sadness of the closing vocals is in sharp contrast with the frenzied mix of off-kilter flute, edgy keyboards and manic laughter, signalling her mind's fall into the abyss.

Prelude is a short, synthesized introduction to the closing track of the album, the instrumental Coexistence ' Part 1. This is a track that will delight any fan of classic keyboard-led symphonic prog rock. Carina's superb keyboard skills really dazzle and shine, as do Olivier's bursts of resonating electric guitar. The musical template twists and turns, with Cl'ment's busy drums keeping everything pushing forward. More Hammond organ to savour before a change in tempo, and Mellotron, soaring flute and acoustic guitar provide a period of relative calm. However, the music then takes on a dark, heavy intensity with echoes of both King Crimson and Yes, majestically climbing higher to a wonderfully proggy crescendo (I'd liken it to Red/One More Red Nightmare meets The Gates of Delirium/Starship Trooper) before it finishes in a dark, echoey and surreal soundscape. Like so much on the album, there is just so much going on, it is impossible to describe adequately in just a few lines. I can't wait for Part 2!

I am genuinely excited and pleasantly surprised by this new French progressive rock band. Oddleaf are not necessarily breaking new ground with their debut album, Where Idea and Denial Collide. However, their unique take on symphonic prog rock ' mixing retro with modern, adding pastoral elements and delivering intelligent, articulate and thoughtful lyrics and themes, has produced music that is an absolute joy to listen to. The surprise package of the year for me, for sure ' this is not an album for prog rock fans to miss out on. Highly recommended!

Album review from ProgRadar

MINUS TWO started out as a four piece and when two of the members left for greener pastures the organist and drummer decided to call themselves MINUS TWO. Some odd pictures of these two looking awkward to say the least. They never did get a chance to record an album but did the next best thing by recording at the SWF studios in Baden- Baden, Germany on July 21, 1972. So a live in studio recording with no real soloing going on. Some vocals I guess to break up the monotony but they make it worse.

We get four tracks worth 32 1/2 minutes and they are listed here under Symphonic. I do like that growly sounding organ on the apt titled opener "Sticks And Keys". I wish there was more of it. I do like the first half of "Differences" , it's a little dirtier sounding and darker, but then the vocals arrive. "First Romance" is fairly mellow but with some intensity late. "Welcome For You" is a little different at least including some vocal expressions.

Not a bad album but I'm wishing that those two members who left had stayed on.

This band began as a duo of drums and bass impressing all who saw them play live. They would add a guitarist before the fortunate turn of events when Maria Archer and Dieter Miekautsch, freshly returned from a trip to Africa were looking for a band to play in. Some "cred" here with these two as Maria sang briefly in both EMBRYO and MISSUS BEASTLY. While Dieter was previously the keyboardist for both bands, and that during their classic periods. So as a five piece they go into the studio and record this album in Switzerland at Sunrise studios over seven days in late June of 1977.

All things considered I was so looking forward to hearing this once I got my hands on it. I knew it was obscure being issued only once on cd in 2001, but I had hoped it would be Jazz/Kraut in that MISSUS BEASTLY style. Nope! More like EMBRYO's World music style with a Jazz base. But the key is Maria's vocals. Great singer but I don't want to hear a soul singer from Africa on what I was hoping was a Krautrock record. It just doesn't sound right to my ears, and I couldn't get past it, hence the 3 star rating.

Some great pictures in the liner notes and info, but as far as the music goes there was really only one track I could connect with and that was "Mark Spitz". A name I remember well from the Olympics back in the day. It's the bass and flute that I really dig on that one. We get ten tracks worth 40 minutes by the way.

Long Forgotten Road

Tiles, the Michigan-based progressive rock band, has been silent since their 2016 double album, Pretending 2 Run. Known for collaborations with producer Terry Brown (Rush) and artist Hugh Syme, Tiles earned acclaim for their intricate storytelling and technical prowess. Now, guitarist and songwriter Chris Herin steps forward with his solo debut, Hiding in Plain Sight.

Inspired by his father's ten-year battle with Alzheimer's, the album is a deeply personal exploration of memory, loss, and resilience. Departing from Tiles' riff-driven sound, Herin crafts a blend of progressive and art rock, incorporating orchestral arrangements, cinematic textures, and introspective lyrics. The result is ambitious and emotional, offering a window into Herin's artistic evolution.

Adding depth are contributions from an exceptional roster of guest musicians, including Peter Frampton, Alex Lifeson (Rush), Martin Barre, John O'Hara (Jethro Tull), Michael Sadler (Saga), Kim Mitchell (Max Webster), and Tim Bowness (No-Man). Contemporary prog talents like Cody Bowles and Kevin Comeau (Crown Lands) join veterans such as Colin Edwin and Randy McStine (Porcupine Tree), making this an album that bridges generations of progressive artistry.

Produced by Terry Brown and mastered by Grammy-winning engineer Peter Moore, Hiding in Plain Sight is sonically rich and immersive. Hugh Syme's evocative artwork enhances the experience, packaging the album as a visual and musical journey.

Despite the notable record producers, amazing guest appearances, and the admirable cause of raising awareness for Alzheimer's disease, the record falls short. It could have been good or even extraordinary, but in the end, it feels like a dull parade of great figures. Perhaps those excesses are what prevented this record from reaching its full potential?it never truly takes off.

"Determined To Strike" is the debut full-length studio album by US, New York based death metal/avantgarde metal act Sarmat. The album was released through I, Voidhanger Records in June 2023. Sarmat formed in 2020 and they released the "Dubious Disk" live EP in April 2023.

Stylistically the material on "Determined To Strike" is dissonant and technical death metal, but with an avantgarde twist and some serious journeys into jazz/fusion territory. While Sarmat can certainly be both brutal and quite extreme, their at times chaotic sounding music is ultimately quite sophisticated, not to mention very creative and intriguing. This is not just another dissonant technical death metal act. The jazz/fusion elements are too dominant and they are an integral part of the compositions. Add to that some pretty weird and adventurous guitar riffs, and the whole thing is quite impressive and at times also jaw-dropping. The vocals are also very well performed and the listener is exposed to both deep growling and snarling growling. The inclusion of piano and especially horns is a touch of genius, which Sarmat use as an integral element of their already eclectic music.

The question beckons...can this even be labelled death metal? or is it actually extreme avantgarde jazz/fusion music with technical death metal elements just being a part of the sound? "Determined To Strike" is both a highly challenging but also strangely accessible release. "Accessible is probably a wrong description of what´s going on here, but despite all the craziness and the chaos featured on "Determined To Strike", I personally still find it quite memorable.

Maybe it´s because the band have chosen a production style for their album, which isn´t overtly brutal and pummeling, instead aiming for a more detailed production, although the sound production is ultimately still quite raw. Upon conclusion "Determined To Strike" is definitely one of the more unique sounding extreme metal albums I´ve listened to in a while, and they deserve a lot of attention for being this creative and for pulling it off with what sounds like a natural ease. Honestly I´m a bit at a loss for words here...but I´ll tell you one thing. This is amazing and definitely gets a recommendation from me. A 4.5 star (90%) rating is deserved.

(Originally posted on Metal Music Archives).

Given the initial idea that the "A" project would be his first solo work, Ian Anderson summoned musicians different from those of Jethro Tull, with the intention of generating a more accessible and 'modernised' proposal, in keeping with the synthesised and industrial atmospheres that were emerging in the early 80's, and which the Scottish musician thought was more appropriate to express as a personal initiative. But somewhere along the way, the ship "A" (1980) changed course, and ended up landing in the Jethro Tull universe, to become the band's thirteenth album, something which, by the way, generated the resentment of the stable members and Anderson's subsequent personal clarifications.

Taking a step away from the rural landscapes and medieval settings so characteristic of the band, in exchange for futuristic preoccupations with far-reaching issues such as the nuclear threat that seemed inevitably looming over the earth, "A" seems to fall somewhere musically between one thing and the other.

Passages that hark back to the more recognisable Jethro Tull, as with the opening acoustic chords of "Working John, Working Joe", or the synchronised agility and interesting choruses of "Fylingdale Flyer", or with the intricate instrumental development crowned by the stupendous guitar solo of Martin Barre (the only stable member who finally participated in the work) sharing the limelight with the keyboards of guest Eddie Jobson in the excellent "Black Sunday", or also with the instrumental display of Celtic airs in the anxious instrumental "The Pine Marten's Jig", end up configuring the highlights of 'A'.

On the other hand, neither the sharp electric violins of Jobson (very active as in the whole album) in "Uniform", nor the bluesy half-time of the repetitive "4. (Low Ratio)" rescue their pieces, and even less the surprising and exaggeratedly synth pop of "Batteries Not Included" (very far from the band's expected sonorities) contributes significantly to a work that the apocalyptic and reflective "And Further On" concludes, with an elegant guitar solo in between by Barre.

"A" is certainly not a bad album, but in light of the final result, it probably would have been a better fit as Anderson's first solo effort.

3 stars

It's a pity I'm seemingly the only one here to review the releases of this Finnish two-man act. While I certainly realize the notable musical talent of Rami Turtiainen and Petteri Kurki, I can't help feeling that PRP's direction isn't very much up to my personal taste (whereas their earlier three-man group Grus Paridae was easier for me to enjoy). That said, I nevertheless consider this second PRP album to be an improvement over the debut some three years ago. At least this album doesn't feel disjointed. Instead it appears to be quite a coherent artistic entity. Sadly though I find it hard to really "get into", ie. to understand what it tries to say in the end. Cryptic track titles like 'Revelation of the Dark Agitbra' or 'Amortization of the Blazing Vitriol' do not help.

Turtiainen is credited responsible for composing and Kurki for arrangements. These multi-instrumentalists indeed do seamless cooperation. Even their vocals are tightly joined together in harmony. The sonic landscape in general is exciting and rich. It's like a peculiar mix of Porcupine Tree reminding hard and modern intensity and more acoustic nuances one can hear e.g. in Nursery Cryme era Genesis (12-strings?). But it must be said that the heavy-ish and at times hostile-sounding intensity with rather fast tempos is the dominant side of the mix.

Without a dedicated concentration from the listener the album is bound to feel rather restless and samey most of the time. My fave is without a question the final track 'Gallery' (which is also the longest piece) as it offers some kind of emotional relief and conclusion after the troubled waters, even though it doesn't entirely remain in calmness.

Despite not wholeheartedly warming to this album personally, I give a good rating for a high degree of originality and technical competence.

Claudio Milano is perhaps the most unconventional and boundary pushing artist that I know of. And this attitude is from top to bottom. From the studio albums he is on, to those legendary live performances that are as much about the visual as they are the audio. To even the packaging that the music comes, which has been so unique at times. One of his recording I own has a literal string tied in a bow around the cd package. This most recent cd comes in a glossy, mini-magazine that is about 8 1/2 inches high and almost 6 inches wide. Some ten pages or so of lyrics and info all in Italian, plus pictures. The cd is held in a clear plastic sleeve attached to the inside back cover.

Like Claudio who is honest to his visions, I feel like I too have been honest with my opinions. Especially when free physical music has been sent to me for review. Not swayed in the least by that, and Claudio knows this, but still keeps them coming. I decline free downloads, as my whole reason for being on this site is to have a place for my opinions of My record collection. I have zero interest in throwing up reviews for music I don't physically own. Of the fourteen cds I own that Claudio's on I have given 6 three star reviews, 6 four stars reviews(including this one), and 2 five star reviews.

I have really fallen for this album. And talk about unconventional! We have three very classy, world class singers and a keyboardist playing a live gig at a gas station in Prato, Italy. A city of around 200,000 people, and the second largest city after Florence in Tuscany. In a gas station?! Unconventional right? Claudio Milano sings on the longest and by far most adventerous track on here called "Dissolvenza" at almost 19 minutes. Milano as usual provides an incredible performance that is as varied as the song is long. He puts on a show, and this is the only song featuring our fourth member Teo Ravelli, who can play drums with the best of them and is also known as Borda. He is also an electronics guy, and it's this song that instrumentally does something for me with those electronics. I love the sound of them as they come and go throughout. This is the track that prog fas will appreciate.

The other three tracks are quite sparse instrumentally, usually piano only. This really is a vocal album which usually isn't my thing, but it is here. We also have Niccolo Clemente on vocals singing on track two called "Comparsa". My least favourite but I still like it. He adds his own piano and synths to his vocals, and is somewhere between the adventerous Milano track, and the mellow Nemo songs.

Lets talk about Alberto Nemo. My first spin of this recording left me completely taken with Nemo's vocal style and tone. He clearly is a spiritual man, from the way he dresses to the music he performs. His songs open and close this album which just seems so appropriate, tying it all together. He sings in wordless melodies like some of those traditional middle eastern singers, or even like some of the singers from India. I had an Indian co- worker who always had his music cranked, and I always complimented it. I'm for some reason really drawn to this style of singing. Slow moving with Alberto emphasizing every syllable, and holding the notes. So impressed.

A very solid 4 stars for this special release that I'm so proud to own. Thanks Claudio!

Originally written for theprogmind.com

9/10

I get overly excited when I find a new band that really jives with me. I was contacted about the debut Oddleaf album recently, and I have fallen head over heels for this record. It's called Where Ideal and Denial Collide, and it releases October 11th.

Oddleaf hail from France. I was taken immediately by their fantastic cover art and overall sense of production value, which often isn't the case with debut albums. The lineup here is Carina Taurer on composition, keys, and backing vocals; Adeline Gurtner on vocals; Olivier Orlando on bass and guitar; Mathieu Rossi on flute; and Clément Curaudeau on drums.

Here's why I like this band so much. They have something of a retro progressive rock sound, but instead of sounding like Yes or Genesis, they take inspiration from some of the unsung heroes of the genre, such as Renaissance and Camel. Their music is, I daresay, a witchy and folk-leaning style of prog rock with hints of Big Big Train's pastoral side, while also sounding quite infectious and dark along the lines of Mostly Autumn and early White Willow.

There's just something about the mysterious shadows at play in this album that grabs hold of me. I love how bright and crystal-clear the vocals are, and how some songs come off as quirky, interesting, and even a bit strange. You will hear lots of flute, which is a major highlight for me, plus Mellotron and Hammond organ.

It isn't just these nostalgic sounds that make their music great. The songwriting is simply superb and whimsical in all the best ways. Honestly, if I were to compare them to a modern band, it would be Cuba's Anima Mundi. In fact, Carina's keyboard style has all the same flare and drama of Virginia Peraza's, who happens to be one of my favorite keyboardists. The music, then, is mystical, colorful, and imaginative, and the songwriting really sells those aspects.

The album is around 47 minutes long, but it feels shorter, honestly. This album flows by in such character and atmosphere that you'll want to put it on again immediately. There are six tracks, two of which are instrumental and transitional in style, but they are incredibly effective. The opener "The Eternal Tree" is only 2 minutes long, but in those precious seconds, we are introduced to the wonder and whimsy of the band, and also a sense of anticipation and cinema. It's amazing.

The next song is "Life", a piece with potent synth at its core, and with plenty of flute and keyboard madness to satisfy any prog head. I love how it transitions between delicate, ambient portions and fabulous chaos. The single comes next, called "Ethereal Melodies", and it is an instant favorite. The vocal lines are incredibly warm and infectious, evoking Karen Carpenter at times, and the excellent guitar solo near the end really gets things moving.

The second half of the album is even better. "Back in Time" is a 14-minute monster with some fantastic instrumental portions and even some funky grooves that always put a smile on my face. I should note that the flute performance on this song is particularly amazing. "Prelude" is next, being a one-minute piece that is basically synth ambience, and I love the aura it brings. The closer "Coexistence, Part 1" is probably my favorite on the album. This piece is about 11 minutes long, and it packs in so many shadows and mysteries into that runtime. I love the piano and the bold, intense synth work in the second part (really reminding me of Anima Mundi). The song, like the album, has constant celestial qualities that are truly beautiful.

Oddleaf should make a big splash with their debut, if there is any justice in the world. Where Ideal and Denial Collide is staggeringly gorgeous at times and quirky and nostalgic in others; it feels masterfully sewn together with excellent lyrics and introspective melodies. Their inspirations are many, but their sound is their own, and I think this first offering will prove to be memorable for me.

Review Nº 839

Horslips was an Irish progressive folk rock band founded in Dublin in 1970 as a quintet playing a brand of folk based rock music whose only parallel could be found in the early works of the British folk rock band Fairport Convention. But, where Fairport Convention freely mixed the British and the American folk rock traditions, Horslips drew on their distinctly Irish roots, and were capable of playing their straight folk material when the moment was called for it, but they never were afraid to turn it up loud and hard, in the most best art rock style. Horslips arranged and performed songs frequently inspired by the traditional Irish airs jigs and reels. Horslips is regarded as the "founding fathers of the Celtic rock" for their fusion of the traditional Irish music with rock and went on to inspire many local and international acts.

Formed in 1970 and retired in 1980 for an extended period, they returned in with a new album "Roll Back" in 2004. At one point in the mid of the 70's, it seemed that Horslips could have been the Ireland's answer to Jethro Tull, but it never happened, really. But, Horslips released half-a-dozen of superb albums along the way, especially "The Tain" and "The Book Of Invasions - A Celtic Symphony". They become Ireland's most acclaimed folk-rock progressive band. Although Horslips had limited commercial success when the band was playing in the 70's, there was a revival of interest in their music in the late 90's. Horslips became to be regarded as one of the defining bands of the Celtic rock genre, indeed.

"The Book Of Invasions - A Celtic Symphpony" is the sixth studio album of Horslips. The line up on the band is Charles O'Connor (vocals, fiddle, mandolin and concertina), John Fean (vocals and guitar), Jim Lockhart (keyboards, flute and whistle), Barry Devlin (vocals and bass) and Eamon Carr (drums and percussion).

So, Horslips had released five studio albums before "The Book of Invasions - A Celtic Symphony" was released in 1976. Returning to their original formula of rock & roll, folk, and prog rock, "The Book Of Invasions - A Celtic Symphpony" rivals with their second studio album "The Tain" released in 1973, as their most consistent and creative work, and established the band as that decade's preeminent purveyor of those three entwined genres. This is an album loosely based on the "Book Of Invasions", which is a 12th century compilation of legends regarding the settling of Ireland where the Fomorians then the Tuatha de Dannan and finally the Sons of Mil or Milesians or Gaels won the Irish island.

Before "The Book of Invasions - A Celtic Symphony" the band had experimented with various permutations of rock, Irish folk and Celtic mythology on their previous albums, but it was on "The Book Of Invasions ? A Celtic Symphony" that everything gelled with the long cherished idea of creating a classical symphony from these components, a true concept album about "Invasions". It's split into three movements and it has a leitmotif which crops up throughout the album in various guises. In the old Ireland there were three principal categories of songs, called Geantrai, Goltrai, and Suantrai (the joyous strain, the lamenting strain, and the sleep strain). The same happens with this album. It consists of no less than fourteen songs divided into three lengthy movements. The first one, "Geantrai", runs for over twenty minutes. The songs in this movement are tied together by an old traditional tune that appears several times between the tracks. The songs in this piece were some of the strongest the band ever had, "Trouble With A Capital 'T'", "The Power And The Glory" and the stunning "Sword Of Light" that must be one of the best fusions of rock and traditional Irish folk music ever recorded. The second movement "Goltrai" opens with the light weighted but catchy "Warm Sweet Breath Of Love" that goes into the instrumental theme "Fantasia - My Lagan Love". The best song in "Goltrai" is still the excellent "King Of Morning, Queen Of Day" that is another excellent example of the band's talent for turning a traditional jig into their own compositions. The third and final movement, "Suantrai" starts with the pleasant "Sideways To The Sun" that is based on an old traditional Irish ballad. "Drive The Cold Winter Away" is an instrumental interlude that leads into the far and a bit more aggressive "Ride To Hell" that closes this amazing album of Horslips in the best way possible, really.

Conclusion: This album was the chart highpoint for Horslips in the UK and although they were popular in the USA, the band split in 1980. I'm not saying "The Book Of Invasions - A Celtic Symphony" is a perfect album, but it does have its perfect moments. So, especially and at a time when everything can be found online, it would be a shame that you miss this great album. The scope of the album is quite breathtaking. The Irish mythology rubs up against folk melodies, rock arrangements, symphonic themes and a huge range of instruments and bags of style to create a genuine classic album. There are some catchy riffs and melodies and some good hard rock in too and bits and pieces of tradition tunes. Like many bands from this era, Horslips reformed for selected gigs in the 90's, but they can still be seen live occasionally. If you're into rock or folk or both and you haven't heard this before, you really should give it a listen. It's recommended.

Prog is my Ferrari. Jem Godfrey (Frost*)

HESUS ATTOR were a four piece from Croatia playing avant/ metal with extreme vocals. But they began as an all instrumental trio playing a lot of live gigs for about a two year period. I believe the only recording we have of them as a trio is their 2005's "Vamonos Todos..." which I haven't heard. By the end of 2005 they became a quartet adding the incredibly talented El Cathedralico on vocals and releasing an EP called "Green Feathers And Cannaries" in 2006. "Sonic Gastronomy Volume 1" is their first full length album with their new singer released in 2008. Yes they have a sense of humour, in fact that is a big part of their music if the album cover and title didn't already give that away.

I can handle extreme music for the most part, it's the vocals that are usually the problem. Most consider this an avant/ metal band playing complex music with many different styles thrown in on pretty much every song. This band is so entertaining. You would have gotten your money's worth and more if you saw them live. The vocals make me feel like I did something wrong. Either they are screaming at me, shouting at me(in that punk style) or growling at me.

So yes that instrumental "Trl t t t..." at just under 2 1/2 minutes is my favourite. Man I'm into so many sections though on other tracks, but turn on a dime they sure do, changing often with extreme vocals usually wreaking havoc the next second. There's almost a FAITH NO MORE sounding section on "La Hesusaracha". The first minute is great on "Elizabeth Z. Herman" before it turns on us, but yeah this is not for the faint of heart.

3 stars is all I got. Too insane for these ears. I was hoping Mike(Silly Puppy) would have reviewed this as he is really into extreme music.

"The Lost Art of Time Travel" is the second full-length studio album by US progressive rock act Presto Ballet. The album was released through Progrock Records in July 2008. It's the successor to "Peace Among the Ruins" from 2005. There have been quite a lot of lineup changes since the debut album and only lead vocalist Scott Albright and guitarist/keyboard player Kurdt Vanderhoof remain. New in the lineup are Ryan McPherson (organ, piano, synthesizers, lead- and backing vocals), Bill Raymond (drums, percussion), and Izzy Rehaume (bass, backing vocals).

Stylistically Presto Ballet continue the hard rocking progressive rock style of their debut album. In many ways they remind me of Kansas, because they have the hard rock riffs and AOR leaning pop/rock choruses, but they also have the complex playing and symphonic approach to songwriting which characterized many of the European progressive rock acts from the 70s...and yes while this is contemporary progressive rock, almost all elements of this release are influenced by 70s hard rock and progressive rock, including the choice of keyboards like mellotron and hammond organ. It's interesting to hear Vanderhoof in another setting than his other band Metal Church, and it's obvious that he has made sure that the two acts are not musically connected. Presto Ballet can play some heavy parts here and there, but they are never heavy metal oriented. The same can be said about Metal Church which occasionally flirt with progressive rock, but never fully cross the line.

"The Lost Art of Time Travel" is a well produced release, and everthing you hear and experience while listening to the album scream high level professionalism. To my ears Presto Ballet are best when they are at their most progressive, while I appreciate them less when they are leaning towards their hard rock/AOE side, but the balance is pretty equal here, and it's therefore fans who enjoy both styles who'll find this an interesting release. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

SUN DIAL is the long running project of Gary Ramon out of England. Releasing his debut in 1990, he has created about a dozen studio albums including his most recent in 2023. Ramon has his own studio and record label so he knows his way around a recording studio, and he's a multi-instrumentalist and composer. Looking through those dozen albums the only time I see the same lineup twice is when it's Gary all by himself a couple times. A lot of the same names though appear over the last almost 35 years. A trio here of bass, drums and guitar basically with Ramon adding mellotron and tone generator.

I consider myself a huge fan of Psychedelia, and for SUN DIAL to have no less than three studio albums in my "best of" Psychedelic list is impressive. Those include that 1990 debut "Other Way Out", plus his 1993 record "Return Journey", and my favourite from 2016 "Made In The Machine". I have half of his studio albums, and have given the other three records 3 stars including the one I'm reviewing today "Acid Yantra" from 1995. That year would prove significant for Ramon releasing not only this studio album but his first live record called "Live Drug".

Gary would then go on an extended hiatus as far as his own music goes and focus on other people's albums in his own studio before returning with "Zen For Sale" in 2003, eight years later! I feel that comeback album is better than this one, more inspired, although I am in the minority with those feelings. The biggest difference for me between "Acid Yantra" and the previous one "Return Journey" is that they have really slowed things down here, filling the album with distorted guitar expressions. Like I said, just not inspired in my opinion. I miss the energy of that previous record.

There's mellotron on a couple of tracks including mellotron flutes on the closer "Yantra Jam". "3,000 Miles Away" is my favourite. And it starts out spacey before reserved vocals, strummed guitar, bass and drums take over. A lot of attitude on "Bad Drug" not so surprisingly, especially with the vocals. "Fly Into The Sun" is another highlight with that relaxed guitar and percussion before it builds with distorted guitar and vocals leading. This is a good album, but it's hard not to compare it to his best, and I feel this doesn't measure up to those. A break was probably due anyways as Ramon had released five studio albums and a live one all in the first half of the 90's before that break.

— First review of this album —

Another album by Klaus SCHULZE when he left, strange at first; less so when we know that this album is in fact the result of a commission dating from 2008 for a film!

01. INFINITY (part 1,2 & 3) with the dark, mystical, soaring, black start with brackish colored scents, yes dark I confirm; it progresses on airy droplets and a languid base before having a world variation by the oriental vocal; we find hints of Jean-Michel JARRE on the endless rise, a mysterious violin coming to cast even more doubt on the direction of the piece; latency and contemplation are required, the sound at the origin of 2008 is less austere, heavier and more pregnant 02. ALPHA in detached piece continues however on the line of the master by proposing a typical reverberation beginning, a plaintive air more than melancholic, we approach the meditative expiation here; a digression in fact

03. MULTI (part 1,2,3,4 & 5) dives into a sequence of more than half an hour with 5 parts; at the beginning it is different, but it is also a bit the same; we have to wait until the end of the second drawer to glimpse a desire to turn up the sound, the 3rd to realize that we have forgotten time and that the Schulzian sound still has an effect even after his death; yes these pieces are part of a work requested for a film soundtrack, but we know that Klaus is gone, and this sound resonates much more like a memory, a solemn hymn, a temporal hook beyond death, a bit like the famous library of Interstellar', but I digress; these multi-titles would be like multi-glasses allowing to communicate with Klaus, I digress, I dream, I soar, I start to believe it; the moment when I think I hear pads of his hands, he who was a drummer at the beginning; yes the 4th phase is indeed the start of the album by associating what made SCHULZE the creator of the linear, monolithic, hypnotic and dangerously mantranic sound; of the bass rhythming our brain with the treble pricking our heart, or the opposite; in short the final part is an extension that definitively buries us next to him to whisper his last notes, oh there this chronicle becomes subjective, unreal, incredible

04. META arrives, follows, a sequel, a redundancy, a passage with the velvety keyboards always, with this synthetic pad that sets the rhythm, makes you close your eyes and listen in a syncopated way to the musical framework reveal itself, again and again; this piece goes by faster, I wonder if I fell asleep as I often do for more than 40 years while listening to Klaus; yes his atmosphere is in my skin from now on 05. UNI (part 1, 2 & 3) with the electronic latency that continues at first glance, you need the second drawer to have one of these openings of which only he had the secret; an electro air coming out of a keyboard, another from a synth and the piece suddenly comes to life; a little about JARRE's spatial orientation again, ah yes he did good things at the beginning too; this long monologue of high syncopated notes that seem to fall on a still damp cement screed; long contemplative melody to approach the Heavens, again; the easiest piece to access on the edge of redundancy, lacking that little extra that imprints the electronic progression; in short the finale slows down the air, the pads become more present, the low sound is gone, the one that reassured by offering another nap and another replay because of the brain's escape. An album from 2024 that takes the time to last in a disordered world, a bit paradoxical. (3.5). originelly on Planèteprog on Facebook.

After Omega, Solaris is most probably the longest on-going Hungarian prog band (with Android not far behind), consistently releasing a long stream of six studio albums that are not only highly rated by the prog fan community but also with critics and reviewers worldwide. The first Martian Chronicles appeared as their debut album in 1984 (nice timing) and immediately causing quite the sensation, still mentioned regularly 40 years later! The second chapter surfaced in 2014 and now 10 years later, here comes the freshly minted "III: or A.I.", a double CD spanning nearly 82 minutes. The band has remained pretty much intact, with the sadly departed Istvan Cziglan still a member spiritually, having passed away in 1998. Still directed by flutist Attila Kollar, Robert Erdesz on keyboards, guitarist Csaba Bogdan, Gabor Kisszabo, Tamas Pocs and Attila Seres as bassists as well as drummers Laszlo Gomor and Frenc Raus. Martian Chronicles III is composed of there long suites, a Solaris trademark that has never fallen out of style, maintaining their long-standing reputation for premium sci-fi based symphonic prog.

The 20 minute + "Zoo Galactica" launches this new adventure with considerable aplomb, settling rapidly into a cosmic introduction that immediately ushers in the prototypical Solaris sound: lush keyboards and synths, twirling flute, a solid rhythmic pulsation and soaring electric guitar leads that together decorate the sonic universe with a myriad of impressions of vastness, power and imagination. "Shadows of the Creators" veers toward a more cinematographic inspiration, delicate synthesizer melodies that initially steer into more contemplative realms with the miraculous flute in the lead, the ominous distant threat of orbiting guitar shifts never far behind, in the shade of time and space. Stoic and reserved at first glance, "The Guardians" assumes its authority with confidence and resolve, as the buildup generates an upheaval of density, again marked by a stinging guitar riff, and whooshing synths that clatter, collide, and ultimately explode in a cosmic ballet. Decisively raising the contemporary conundrum of technology taking over unsuspectingly our daily routine, "I or A.I." tackles this new horizon with a clever old-school classical flute essay that showcases the achievements of the past and then slams the concept hard with a rousing, aggressive organ-drenched, choppy axe riffs galore rant that shovels ahead like a bank of super computers gone AWOL. "Inflection Point" takes that even further, highlighting the impossibly carnal attraction of the piano to wrestle with all the electronic laser-guided sounds, in a battle for galactic supremacy. Bogdan's slithering stun guitar in particular causes quit a stir, giving way in the end to the piano insisting on its rights to fight on.

Change of pace on the "Ballad of Deluge" spanning 21 minutes, an orbiting space station platform for a way more symphonic approach, with booming orchestral timbales, accumulating violins and cello, as well as a three-person choir to the flute-led arrangement on the opening "Prologue", finished off by a deafening gong. Unexpectedly, a churning organ hijacks the spacecraft with a cool, somewhat countrified slide guitar motif, like a vintage Jethro Tull ditty suddenly peering out of the command module. "Island of Survivors" is a real treat in combining a massive church organ to the mix, synths flying off the handle and a flurry of turbo-charged fretboard to further delight, fingers snapping in utter delight. Reverting to a more laid-back moment, "The ARK" has a jazzier approach, with deft drumming, a romping bass furrow, twirling piano adornments and a Magma-esque choir, as the electric guitar pretends it's a violin, the eccentric strings putting the final nails into the exploratory wooden ship led by some Noah guy, reminding us that the flute is ultimately a magical instrument. With delightful Asian overtones, "The Ballad of Deluge" also has Hungarian lyrics sung with a sense of acceptance and fate, as if the global tsunami yields nothing less than a rebirth, a renaissance of sorts, perhaps a return to the blackboard (computer screen) is in now in order. A magnificent voyage, indeed.

On CD 2, the nearly 40 minutes of "Dream Valley" welcomes the preceding collapse and the impending renewal, a further discourse on a new day, in a new world, with a reawakening of courage, hope and determination. But like in all dreams, one must face the "Nightmares" first, and this bruising sympho-hard rock blast serves to wake us up in a dreaded sweat, shock to the system by definition. The marshaling drums show no patience for contemplation, the bass guitar paving the way like a guiding light within the darkness, the flute donating an added layer of salvation, the church organ motif offering absolution, as the synths and guitars duel it out like in a gruesome Western movie, pistols ablaze. Superb piece. Oxymorons displayed on "Future Memories", a contrasting tug of war between the previous and the potential, voices and instruments at odds with each other, doomsday electronics muscling in on Edith Piaf-like musings, a cleverly orchestrated slice of sonic expediency, a mezzo-soprano voice (I am a sucker for that kind of sound) wailing as if a great gig in the sky is being planned for the astral listeners. The sizzling guitar solo is astonishing, egging the synthesizers to howl at the moon, the stars and even at a few passing asteroids, the aria returning for another chance at showing off lung power. The flute and acoustic guitar also have their say, in convincing fashion. What a blend of various moods and sounds! The chaotic "Golden Raven" is experimentally resonant, a short etude in preparing for another cornerstone piece (the longest on the album) "Dream Valley", as perfect resume of what this release is all about, a deliberately restrained, modern /classical electronic arrangement that gives the opportunity to really appreciate the passion, the atmosphere and the sublime melodies these Magyar lads are so gifted to possess. To make matters even worse for me, a fretless bass solo takes over and sends me into a paroxysm of joy! The percussion section is off the charts vivid, the gypsy violin severely romantic and the chanting vocals utterly hypnotic. Playfully intricate, at times appearing effortless, the vibrant music is simply hyper creative, deeply entertaining and unpredictably comfortable, permeating deeply into the soul. Highlight track, bar none. Flutist Atilla Kollar gets to vent (pun intended) on "Paradox", hurling notes liberally at the clanging guitars, the moody ambient sections adding to the swoon, a whistling voice, gruesome vocal effects, and twinkling inspiration. There is a strong Spanish/Moorish influence, as it morphs into a sandstorm of sensations and echoes, keeping the listener on constant edge, a contradiction fulfilled. The flute reestablishes control, defiant and valorous, repulsing attempts by the churlish wah-wah guitars and the throttling organ counterattacks to take over the dominion. Kick- ass display once again. Two brief affairs to finish off this masterpiece: the majestic breath-taking grandeur of "Monument", a progressive shrine of mood and substance, with a massive killer choir fest to seal the deal. And, as perhaps predicated by all the preceding understanding, a serene flute and a beautiful Hungarian poem of hope and a dream for a better world for all.

Literally a personal soundtrack to the imaginary movie that plays in one's mind, I can see Ian Anderson listening to this and yelling out loud "Hot night in Budapest"! This should easily sit right on top of the 2024 mantel, as its is a full upgrade on the 2 preceding Martian Chronicles.

5 clash of titans

Can there by a finer voice currently in the prog scene than Sylvan 's lead lung? Besides the impeccable technique, he also is arguably one of the most recognizable vocalists in any genre, with a unique style whereby he 'squeezes' out harmonic vowels with a mini delay that either elevates or emphasizes the passion he seeks to interpret. Not many singers like that, Bono perhaps (the voice and not the activist) would be a worthy example, though in my mind, Marco is way more engaging, comfortable in both the serene and the stormy. His quarter of a century career with Sylvan finally has led to record a very personal solo album, as the German band is currently on a mini hiatus with various side projects going on (Violent Jasper and Ylves, in particular). A crew of well-known names are in on the act, RPWL mates Yogi Lang, Markus Grutzer and Kalle Wallner, Sylvan guitarist Johnny Beck as well as some dudes called Billy Sherwood and Steve Rothery. Tommy Eberhardt (Blind Ego) handles the drum kit. We have a dozen songs that never go beyond 6 minutes, indicating that the concentration here is not on concept, storyline or epic prog symphonics. That is what Sylvan does, arguably rather superbly. This album is all about melody, atmosphere and passion in well-chiseled, intensely fresh, and positive contexts that exude all the charm of the universe.

The opener "Hear our Voice" sets the tone right from the first note, no fiddling around with any overture at all, the guitars laying down the main melody, a brief transition with acoustic guitar, rubbery bass and Marco establishing his incredible voice. The backing vocals emit a powerful surge, settling down with a twinkling piano, shuffling drums, and a melancholic moment. Back to the chorus and, there is little doubt we can hear his voice, Marco and Billy sharing the microphone before a sizzling guitar solo swerves into the starry skies. Just to ensure this will not be an entirely mellow affair, a bruising rock number in "Never Say Goodbye", owner of a gloriously majestic chorus, sweeps the slate clean with power and sensitivity. The swaying of emotional sections from forgiving to vigorous are exhilarating, the sublime chorus keeping the balance intact. Tremendous number.

Calm after the storm on the serene ballad "Reach Out", a vocal display that underlines the qualities defined earlier on, at one moment gently fragile and then overwhelming, as it soars in intensity. That vocal ability to veer from one extreme to another is amply shown here once again, a Marco claim to fame, as every word is completely intelligible. The symphonic crescendo on the finale is breath taking, tormented voice and tortured guitar burning adding to the plea. Rage shows it true colours on "Faceless", a thrashing pulse full of piss and vinegar, doom-laden walls of keyboards adding dim colourations, and a decidedly angry vocal disposition verging on fury that just pummels along without any remorse! So much for a peaceful album!

Marco has that romantic ability to interpret the deepest emotions, a trait I find particularly appealing. The spectacular" Look at Me" is a highlight moment here, showcasing a level of intricate expression in the tender paternal lyrics, ornate classical piano twinkling in fluid rapture, and a stunning chorus that will stick in your head forever more. "Follow me now", repeated endlessly as a plea for the ages, just like my own father had said to me so many times. "At Home" is the companion piece fortified with similar piano and voice construction, a song about responsibility, dedication, protection, and unconditional love. Having been an only child and then a father of five, this one also hits deep into the soul.

A duo of brief pieces, one light and the other dark are up next. A simple song that claims no more than just being as natural as possible, "For A While" is a little, sweet, and honest tune that still stuns by the impeccable prowess from the Hamburg native. "Black the Shades Out" out is a chugging alternative, with a highly urban, moody, and repetitive disposition, totally addictive upon even the first listen. Keeping the stark feel of apathetic routine, "One Last Hope" diverges from grey matters to barely hopeful and only monetary resolve, with dense electronics clouding the horizon. Another hallmark event on this release, all the pieces firmly convincing, especially Marco hitting the colossally high notes with apparent facility. Might as well toss in another truism, as this album is already full of them, "Life is Much Too Short" is the sad reality of our immortality, a reflection that has no time or space in our algorithmic schedule, where even sleep is a complicated matter. Nothing worse that a life of endless regret, the ultimate failure. Again, the theme is maintained as a segue, "Running Out of Time" having this interesting 80s synth pattern flowing though it, as Marco does his best Peter Murphy impersonation before reverting in the chorus to his usual tone. The brash guitar barrage heightens the apprehension, the clock tick the same second for everyone, there is no turning back. Ripping guitar solo to highlight the impending arrival of finality.

The absolute best is kept for last, "My Eyes Are Wide Open" is a sensational finale, a crowning melody, brilliant chorus, and a Marco delivery that has CLASSIC stamped all over it. If you thought Sylvan's "Shine" had overpowering emotion, well this is in the same league. The legendary Steve Rothery provides a luminous guitar solo as only he can, soaring brightly, making it impossible to close your eyes with any finality.

Easily a leading contender for 2024 honours, a perfectly concocted collection of meaningful songs, expertly prepared and honestly delivered. What a voice, though! Wirklich unglaublich !

4.5 Gentle gifts

Sons of Apollo is one of the manifold Mike Portnoy-led projects following the charismatic drummer's departure from Dream Theater in 2010, ideally a supergroup conceived by him and fellow former DT keyboard player Derek Sherinian as an outlet for their heavier musings and as some form of return to the progressive metal world. The duo is joined by Ron 'Bumblefoot' Thal on guitars, Billy Sheehan on the bass (and MP bandmate in The Winery Dogs, a great modern hard rock band), and Jeff Scott Soto as the singer. Unsurprisingly the music of Sons of Apollo is complex and heavy, with a very strong classic rock edge, described by the band members simply as "progressive rock". And while such a collective is able to cause a lot of excitement, the promise and the expectation is quite fairly said, lived up to by the actual music on their debut album titled 'Psychotic Symphony'.

As mentioned before, the band's music is a mixture of progressive metal with hard rock writing, the result of which is a satisfactory collection of songs that would be able to excite anyone interested in this kind of music (which resembles what Deep Purple would attempt to compose if they were pretending to be Dream Theater). Initially impressive and memorable, repeated listens seem to wear out some of the songs (and riffs), however, which ultimately render the album a bit too predictable and one that may be seen as mediocre when compared to the music Portnoy and Sherinian have been involved in over the years. Still, one could not dismiss the fact that the entire thing is consistent, engaging, powerful and technically impressive, with some great highlights in the face of 'Signs of the Time', 'Alive', 'Lost in Oblivion', or the straightforward hard-rocker 'Divine Addiction'. Furthermore, the album is framed by two mini-epics, the closing one of which is entirely instrumental, which is a fine way for the band to honor their progressive backgrounds and interests.

One of modern extreme metal's most illustrative achievements is Ihsahn's 2016 release 'Arktis.', a very avant-garde, technical and diverse album that has to be among the artist's most far-reaching, emblematic and progressive releases, pretty much displaying the full potential of the Norwegian powerhouse musician's capabilities as he explores a variety of styles on this album. However, 'Arktis.' generally seems to be a more divisive release as it presents a much more experimental songwriting approach, even if still developing as riff-based, much in the manner of classic heavy metal, for example. And while more "progressive" and unusual sounds have penetrated the music on this cerebrally engaging album, some see it as a step back from the cold, dark, and relentless black metal backgrounds of Ihsahn.

Nevertheless, the majesty of this powerful albums lies in its experience, in the sequence of the tracks and in the great stylistic diversity that Tveitan dares to explore all by himself - the result is a daring, visceral, and exciting release that challenges and overcomes what other bands more traditionally associated with the progressive genre were doing at the time (like Dream Theater, Periphery, or even Devin Townsend, for example). Full of powerful and memorable tracks, like the anthemic album opener 'Disassembled', the proggy 'My Heart is of the North', or the electronic-driven piece 'South Winds', excellent material prevails on 'Arktis.', which also features heavier and manic tracks like 'In the Vaults', 'Pressure' and 'Frail'. Simply put, the entire album is a very intelligently conceived piece of music that is excellently executed, technically viable, exciting in its entirety and stylistically diverse.

Dream Theater followed up their "formal" debut album in the face of 'Images and Words' with an album that can be referred to as anything but an easy listen - 'Awake' is an album that is intense, energetic, atmospheric and incredibly diverse, strongly following the lead of its predecessor in terms of technicality and feel yet allowing the band to expand their stylistic searchings which range from straightforward heavy metal pieces to technical multi-part instrumentals, intertwined with more melodic and keyboard-based numbers, all ridden with the melodrama ubiquitous in all in the DT catalogue. As complex and introspective as the album is, it also takes the musical pretention element a bit further, and it is true that only repeated listens would allow the album to reveal its glory completely. With this in mind, it becomes clear that 'Awake' is one of these albums that could only be viewed as a whole, a continuous piece of music that makes sense solely in its entirety (not to discredit the singles but they are also valuable pieces of the whole).

The entire record takes the technical skill of the band's previous album and attempts to tone it down for the sake of songwriting, for example, as the songs are generally shorter here. Album opener '6:00' is one of the more memorable and recognizable DT numbers, vivid, raw, and exposing the band's taste for heavier sounds, while 'Caught in a Web' surprises with its melodic character and catchy chorus. 'Innocence Faded' has a more commercially-driven sound that falls into a particular category of Dream Theater songs the reviewer is not necessarily too fond of. A three-part suite called 'A Man Beside Itself' follows this one, including the fantastic instrumental 'Erotomania', a piece that is powerful and driven, technically acute and entirely reminiscent of the great instrumental explorations of the classic prog bands of the 70s. The 10-minute long second part of that suite called 'Voices' is a very strong entry as well, while the following two tracks 'The Mirror' and 'Lie' are straightforward metal numbers with a lot of speed and energy, great attempts by the band to write more "radio-acceptable" metal numbers. Another longer piece is seen in the face of the 11-minute epic 'Scarred', followed by the album closer, a melancholic piece written by Kevin Moore, 'Space-Dye Vest', a peculiar piece for DT but a strong entry on one of their very diverse albums.

All in all, 'Awake' is an excellent follow-up to 'Images and Words', it is a complex album that is also very definitive for the production values of the nineties, while it develops further sides of the band's musical interests that might not have been as prevalent previously. A demanding but worthy listen by all means.

A Desolate Beauty

Two species face extinction, one in the unfathomable depths of space, the other comfortable on its own world. A man and his daughter speed through space trying to outrun a missile, the deciding factor, which has more gas? A soldier is sent to a desolate prison planet to battle a beast with a very unique hunting style. It hunts through the multi-verse, killing not just on the planet, but on every possibility of the planet. Step inside....we've been waiting. -Spiral

In my exploration of the Spiral universe, it occurs to me that this is a body of work that is not adequately appreciated in its own time, but it is a remarkable American entry in independent music, an adventure that people are going to be falling into for many years to come. This is not music that will ever sound dated or be trivialized by ties to the vapidities of current culture. This is sound and storytelling that will be timeless, something even large and monetarily successful bands struggle to accomplish. Spiral will have the last laugh as their ATV disappears over the sandy dunes on the horizon of their Southwest home.

Assembled between 2011 and 2014, Bellicus was the first Spiral title to include Bill Hatfield who would become the fourth member of the group, bolstering the guitar firepower significantly. The album follows the wonderful Parasite's Guide to Rewriting History, and some of the sound similarities can be explained by the fact that the recording sessions overlapped for several releases from this prolific period of creativity for Spiral. Bellicus, at least to my ear, comes across as a bit more aggressive and crushing in several places, but both contain similar mood shifts and balance between light and heavy.

For the uninitiated, Spiral is a unique-sounding entry in the PA cannon, blending elements of psych-rock, heavy prog, doom-sludge, and stoner-conducive cactus rock. The tracks are meticulously crafted and often have elaborate conceptual stories and artwork, although they note that this album contains tracks not related to each other lyrically, though, musically, to me, they still feel like siblings. We again are treated to their style of repeating motifs and their one-two punch that is, one, the lumbering, crushing rhythm guitars in the heavy sections---here it sometimes feels like you've discovered some lost Sabbath instrumentals---with fantastic extended solos....to, two, the flip side of the coin built around Chris's keyboards, which on this album are some of the absolutely most beautiful passages Spiral has ever done. Their secret weapons Felicia Karas (violin) and Senda Shallow (voice) are utilized to gorgeous effect on this side of the Spiral coin. These softer sections are so mysterious and alluring, almost like siren song in the feelings they conjure. You find your mind drifting away with the auburn desert melodies only to be pulled back to explosive chaos soon enough.

I can't yet say what the Spiral masterpiece is because I still have many more albums to hear, but Our Final Days on Bellicus Prime has to be in the running. This is awesome, especially the two long tracks. The cover art, as always, is perfect for the material, Pierre-Henri de Valenciennes's painting, "Pompeii." Also, as a reminder for fans of Spiral, we did an in-depth interview with the band in 2012 in which they provided an enormous amount of cool history and info about their process. You'll want to search the site and read this if you are a fan of their music.

There's one thing you can say for sure about Zappa: the dude was a keen early adopter when it came to new technology. At its best, this yielded groundbreaking, incredible results in the studio, as on Hot Rats; failing that, it at least made him seem prophetic from time to time, like late in life when he speculated about novel systems of music distribution, essentially considering the creation of online streaming a while before the technology was really there to implement the idea.

Then there's Jazz From Hell, an experiment in making most of an album (bar for St. Etienne, a live track) using just his trusty Synclavier. This is an electronic instrument whose sound has dated poorly, but which may have some nostalgic associations for some, especially those who love videogame soundtracks of a certan era - don't think NES-style beeps and boops, think of the sort of output you'd have got on a nice Roland soundcard from a game which really explored the possibilities of that equipment (a Sierra graphical adventure, perhaps).

Freed of the need to work with other musicians, Zappa unleashes complex material which would be difficult to achieve in real life - indeed, he thought some of this was genuinely unplayable by human hands, though eventually sufficiently talented performers proved otherwise. It's an interesting technology demo for sure, but it's not really more than that; Zappa is pushing one-man digital composition to its limits here, and whenever you push technology beyond its limits you risk creating something which ages worse because it exposes all of the limitations of the equipment you are working with.

A solid attempt, but the passage of time has seen other hands find a more nuanced and less gung-ho "all complexity all the time" approach to composing on this sort of legacy electronics yield works that have largely eclipsed Zappa's early efforts here, such as on the chiptune scene. Zappa gets credit for blazing the trail, but others have walked it with more confidence and better results.

The triple LP Shut Up N' Play Yer Guitar set proved there was an appetite for people to just listen to Frank Zappa's guitar solos shorn of context; Guitar, its sequel, proves that you can't just fill two CDs with this stuff, throw it out there, and call it a day and expect to produce something as interesting as that set was. For one thing, thanks to the triple LP format Shut Up N' Play Yer Guitar could at least be absorbed in digestible chunks; here Zappa pretty much fills two CDs of material and throws you in at the deep end.

For another, Zappa had already mined his archives fairly thoroughly to put Shut Up together in the first place; the selections on that hail from 1972 to 1980, the selections here come from 1979 to 1984. That's a tighter period of time - the start of which had already been raided for Shut Up's purposes, the latter end of which doesn't represent one of Zappa's more beloved live bands (or at least, not so beloved by me). A shorter time period means less musical variation and development over the course of the set - and by the end of the 1980s Zappa's guitar technique had matured to the point where it just didn't develop that much from year to year.

A lot of this ends up running together to my ears in a rather unmemorable fashion; the only times it really makes me sit up and pay attention is when I recognise the backing song Zappa's playing his improvisation over, or when he starts quoting someone else's material. And when the least interesting thing about a collection of improvisations is the most imporovisational and original parts, that's not a great sign.

— First review of this album —

Francis Décamps seems to want to be reborn, see the attached cover, and to mock prog or what is left of it by releasing an album on the border between the innovative and the remix.

"L'inattible" for the darkly progressive fresco made of keyboard flights and whispered phrases; like in the time of Ange d'antan with a metronomic and stroboscopic bass synth; a bit of Louis Jouvet to disturb, the diatonic accordion like that of François de Pigalle, a bit of Poulbot in the corner of the chorus; six minutes and the heavy guitar riff surprises; in the first third the accordion juggles helped by the evanescent and angelic synth; fourteen minutes and this beat which will be the musical base on all the titles, which scares me, too violent; this space then returns to the organ, phew; the spoken ending takes me back to the last albums of Gérard Manset who had given preference to phrasing rather than singing, premonitory outro with a "take good care of yourself". "My worst nightmare" where we return to the Angel of the 80s with synths; a phrasing with the accordion on alternative rock boosted with ultra-bass, the one that the progueux hated; a fusion mix that leaves you speechless with certain raw words, we don't change with the Decamps.

"The peace of the meninges" for the play on words, the gypsy atmosphere, the rhythmic, festive orchestration; words like François Lazaro could send us very far too; the Afghan break when things are heating up over there, the title coming out of the musical drawers, changing the atmosphere; the dub behind very/too modern anyway. "Hymne aux progueux" with the slightly heavy intro; the angelic speech starts on the ballad, sax or sample of Francis' keyboards still so soft; it drifts on a delightful prog break where time did not exist; text break listen it's for you, it comes from prog, stop at four and a half minutes the angelic riff snub is magnificent. The prog space continues on the accordion, another Japanese space, very melting this one, just to imagine that he will perhaps play reggae, folk song, samba in another time. The impression that Francis allows himself to phrase like his brother which is a guarantee of quality and respect; a well-made piece in fact because no bass. "The foot" lasts the intro even if the jingle bells comes to coax; phrasing accentuating the book to read for adults; the most this marshmallow accordion which vibrates your scattered hair; his foot would be to get out of this angelic straitjacket in which he was too tidy? The hyper bass synth is aggressive. It's up to you to dive in or not but the end smells good of the "madman" of 84, oh just 40 years old. "Question of point of view" with a sermon on the current debilitated life and its schizoid social networks; a real damning observation on a melancholic ballad; should we not end it but if by moving away from these media and choosing one's own way of life; Francis enjoys himself on these choirs sampled in the 10CC sauce.

Francis Décamps changes course, this opus surprises with its modern tone, its embellished words and the disconcerting atmosphere. originally on Progcensor. (3.5)

"Earthbound" is a live album release by UK progressive rock act King Crimson. The album was released through Island Records in June 1972. It bridges the gap between King Crimson´s fourth- and fifth full-length studio albums "Islands" (December 1971) and "Larks' Tongues in Aspic" (March 1973). Recorded through a mixer directly to cassette tape "Earthbound" is a relatively lo-fi recording, and is sometimes described as a bootleg sounding live recording. The band wisely realised that, and upon release offered the album at a budget price. The reasoning being that it didn´t cost them much to record, so the fans shouldn´t have to pay much to listen to it.

Personally I´ve heard bootlegs which sound both better and much worse than "Earthbound", but it´s arguably not a particularly well sounding release. Opening with a loud, heavy, and noisy version of "21st Century Schizoid Man" King Crimson are on to a messy and untight start. "Peoria" is a 7:30 minutes long blues rock jam, which sounds almost nothing like what you´d expect King Crimson to sound. "Sailor's Tale" appears on a shorter version than the studio version found on "Islands" and it sounds uninspired and muddy. "Earthbound" is a blues jazzy improvised jam and again sounds nothing like you´d expect King Crimson to sound. Scat vocals and all from Boz Burrell.

The closing track is a 15:30 minutes long version of "Groon". A track which first appeared on the B-side to the "Cat Food" single in 1970. It´s an improvised jazz jam track...needless to say it again sounds nothing like what you´d expect King Crimson to sound like, and upon conclusion "Earthbound" isn´t a good quality live release from King Crimson. Not only is the recording quality sub par, but the band perform music here which isn´t at all in line with their studio output. Had I gone to see King Crimson on this tour I would have been extremely disappointed. A 2.5 star (50%) rating is warranted.

(Originally posted on Metal Music Archives).

MIRIODOR are from Quebec City and are ten studio albums in on an outstanding career. They can almost do no wrong in my world as the only rating less than 4 stars that I've given them was for that self titled album from 1986. I still feel "Rencontres" is their best with "Signal 9" being my favourite of the more modern ones, but it's all good. Down to a trio here from a four piece on the previous album "Avanti!", with each of them being multi-instrumentalists.

This is album number eight from 2013 and we have eleven tracks worth over 50 plus minutes. And it's that section from track four which is the shortest on here called "Paris- Roubaix" to track eight which is the longest called "Tandem" that makes this a four star album for me. They bring it here with some powerful bass and drums while the guitar is very engaging. Included in that five track run is "Titan" which sounds like it has mellotron on it, and it's also the heaviest tune on here. Check out that guitar after 1 1/2 minutes. The next track "Un Cas Siberian" has so much bass to it that my speakers vibrate. Growling at times. Next is "Speed-Dating Sur Mars" with all that atmosphere as keys and drums join in. While that atmosphere does leave, it turns haunting and then piano joins in. It brightens but then returns to the dark side around 5 minutes in.

It's impossible for me to actually rank their albums. They are all just so consistently good, but again "Rencontres" and "Signal 9" stand out for me from the ten releases.

I have followed these guys from Chicago for years, their albums have never disappointed me, on the contrary they are a guarantee that I will face a great musical adventure every time they release a new album. Their sound mixes jazz metals with strings that seem to come from Chamber-Prog and guitar-bass-drum bases that seem to come from Math Rock.

Their structures abound in odd time signatures, elegant syncopations and in general capture the listener's attention with the great variety of elements that enter and leave their songs.

If you don't know them, give these guys a chance who are really consolidating one of the most solid discographies in recent years in the avant-prog scene. Guaranteed!!

Maestro Frédéric L'Epée, accompanied (among others) by the great Carla Kihlstedt, have given us this 2024 one of the best works that can be heard in the avant-prog genre.

Beastly counterpoint between 2 guitars, very much in the style of KC but which are only bases on which the band has to deploy choruses and arrangements that completely separate their sound from that of the immortal Crimsonians.

Even the calm songs are covered with beautiful arrangements that give them an aura of mystery and a certain ceremonious darkness that serve as a momentary haven within an album that successfully goes back and forth between several progressive subgenres, under the direction of that genius called Frédéric L'Epée ...

Exquisite and unmissable listening!!

What a pleasant surprise!! Although the sound of the good Roland is a bit indebted to Robert Fripp and company, it offers us a fresh and current perspective of what this type of structures based on angular guitars can achieve when combined with atmospheres that pass through tribal, electronic , ambient and space rock with a concise and quite enjoyable result.

It is undeniable to appreciate that there are also elements of jazz (exquisite fretless basses and guitar scales that at times remind us of the great Terje Rypdal, among other arrangements that further enrich the sound palette of this Swiss artist who has delivered an honest, neat work in 2024. and effective for lovers of good avant-rock.

Avant-prog at its best!! With a sound that clearly derives from a mix between experimental alternative rock and math rock, it is a true delight to listen to the crushing riffs with which the songs of this combo have been put together. The female voice at times reminds me of some Moetar in a heavier version and the palette of sounds in the guitars and electronic effects give a psychedelic and avant-garde air that never ceases to surprise as the album progresses.

For being (as I understand it) their first official album, the band sounds very cohesive and with a very clear proposal that suggests that their next works will be increasingly better.

One of the most pleasant surprises from these English people who I definitely didn't have on my radar... Waiting for more soon!!

Second installment of this mysterious Mexican character about whom there is not much information and apparently he is not even a musician in the strict order of ideas. And I say this not to the detriment of his work but to his advantage, because in some way that amazes and intrigues me, he has managed to convince another handful of big names from the international avant-prog scene to collaborate on a brief but powerful selection of songs.

Their first album was a pleasant surprise, although it was evident that it was still a mix of real musicians with virtual instruments, which although it achieved effective cohesion, it was only until this second release that a more organic intention was perceived in the sound and I applaud that, At least after a couple of first listens, I see an evident intention to go one step further in terms of the complexity of his compositional skills, amalgamating dozens of riffs that go through clear influences from the RIO & Zeuhl genres, but in a clear path. towards achieving his own seal in his sound. One of the most adventurous albums in 2024, a year where great bands abound but few risk exploring deeper into their own sonic ideas.

I just wonder: what else could this man invite in a third installment? Extravagant trip and experience, without a doubt.

Is this Zappa's last really solid studio album in a conventional "jazz-rock and comedy rock songs played by a band" mode? It might well be. The Man From Utopia is, well, the album from dystopia; Them Or Us is a double album with perhaps a single side's worth of serviceable material and a lot of filler, issued at a time when Frank was spreading himself thin between rock operas, orchestral endeavours, and Synclavier experimentation; Thing-Fish is, well, Thing-Fish; Mothers of Prevention is a sort of odds-and-sods collection of lesser studio efforts and Synclavier offerings; Jazz From Hell is where the Synclavier really takes over in terms of Frank's studio output.

So of all of those (and the various other albums which followed Ship), only Them Or Us and The Man From Utopia really offers a straight ahead "Zappa and his band in a studio" album, and neither of them match up to this, with a sound which mashes up muscular guitar lines with genuinely hooky material. Sure, Valley Girl might be irritating if you lived through the period when it was on the radio all the time, but I'm lucky enough not to have, and it's a funny gimmick set to a deeply addictive tune, and No Not Now is almost as memorable, as is I Come From Nowhere.

The second side sets sail for less commercial waters, with the twelve minute Drowning Witch as its centrepiece and Envelopes as a pretty decent followup to it. (By contrast, Teenage Prostitute is a big old goof-off.) It's all a bit polished and a touch plasticy to my taste - as is much of Zappa's 1980s output - but it just about passes muster.

Mercury Tree does not fail with its original microtonal Avant-Prog proposal. The best thing about this band is that microtonality is not their strongest card but one more cherry on the delicious cake they present in each work, where the songs are worked on solid and powerful rock bases that delight us with irregular times and measures, instrumentation quite original that are not easily found in the typical lineups of the genre and arrangements meticulously designed to surprise the listener song after song.

Something that I love about these guys is that I consider that they have managed to distance themselves from the KC influence that most contemporary bands that abound in this demanding progressive subgenre still suffer from. The Mercury Tree has achieved something difficult: finding their own sound and managing to take it several steps forward with each new album they release. Incredible work!!

Great work by this band! At times they seem like a Van Der Graaf Generator successfully brought to the 21st century with obvious technological additions and a more modern approach to the sound, which nods to metal, jazz but above all to that modern progressive rock that in my very particular case fills me up the commissures.

One of those difficult-to-find albums in which there is not a single weak song, all armed with well-thought-out and better- executed sections, we are faced with a super-rehearsed band with a special ethos that gives a personal stamp to what they do. Live they must be a true spectacle if they sound with even half the energy and daring with which they give us the greatest moments of this great album. Highly recommended!

It's only talk. This sums up King Crimson in the 1980's. Fripp decided to reconstitute the group in the era of the new wave. He had just performed with the League of Gentlemen which was successful but not completely satisfying to his artistic soul. KC is the soul of his mantle. He formed the band and shaped it for more than a decade when this record was released. It was a break with the past in this format. It was guitar music that was more subliminal and repetitive. Adrain was the essential element in this group as he had the ideas and motifs which shaped the music and led to a trilogy of albums during this era. King Crimson has never actually been disbanded, as they always tend to regroup after a hiatus. With the modern day we have the band BEAT which is a cover band and has two original members. They are now commercial as evidenced by their ticket prices.

How wonderful that this Armenian continues his ambitious exploration project that surgically fuses the essence of jazz, math rock, avant-prog and music from his place of origin to give rise to works that brim with a unique sound that is already a trademark recorded by this virtuoso pianist who delights us in 2024 with this bird with a thousand voices. Long live musicians like the great Tigran Hamasyan.

The way in which he weaves the base structures of his compositions through intricate piano lines that become sonically entangled with an exquisite selection of instruments is definitely amazing from a musical but also mathematical point of view, because despite the complexity, Tigran manages to amalgamate everything in a way that is pleasant and friendly to the ear without needing to be an expert in these progressive genres.

However, and it must be said: it is not at the level of his best works, although we can trust that this bird is a period of rest or transition that will allow us to soon listen to another masterpiece of the Armenian genius.

The 1970's was the golden age of progressive music. It actually started in the late 1960's after Sgt. Pepper and Brian Wilson's great push to use the music studio as an instrument, which he did so effectively with his Pet Sounds. Everything seemed to fall into place for energetic groups to take rock music to its extreme. Brian Eno did this with this release. In the mid 1970's the economy was experiencing inflation and Watergate had just been concluded in Washington DC. The US was in turmoil along with the rest of the western world. In the musical art world of English masters like Eno, he was only getting started. He wanted to go totally uncommercial and make true art with sound. I think he accomplished his goal with this record. It has everything in an avant-garde project. It is beautiful and sublime. It is 4.5 stars on my scale. No track is filler, everything fits and produces a grand whole with subtlety and artistic merit.

A massive collection, in light of how expansive these live shows were, but compared to Halloween 73 or 77 I'm not so keen on this one. Zappa's early 1980s band neither has the groundbreaking virtuosity and experimentalism of his mid-1970s incarnation of the Mothers or the exciting raucousness of his late-1970s group. It's all rather polished, but the polish is rather ruined when the band rush through the songs to this extent, Zappa deciding to go for quantity over quality.

That's kind of how his release schedule went in the 1980s - just look at how much stuff he put out in 1984, where you had classical releases (Boulez Conducts Zappa), plus a double studio album (Them or Us), plus a truly horrible Broadway-style musical (Thing-Fish), plus an adaptation of a long-dead composer's works to the Synclavier (Francesco Zappa). There, as here, Zappa provides an object lesson in the idea that just because you have the space to do anything you like, doesn't mean you should necessarily do *everything* you like - selectivity and editing is important.