1000 Prog Albums Over 46 Years: 1966-2011

2000

761

The Shaming Of The True
Kevin Gilbert

A review by Gatot:

I knew of Kevin Gilbert during the years when I was chasing tribute albums in the mid-nineties through a compilation album "Supper's Ready" - a tribute to Genesis (Magna Carta, 1995) and "Tales From Yesterday" - a tribute to Yes (Magna Carta, 1995). Out of fourteen tracks featured in the Supper's Ready CD, I was totally amazed with track 5 "Back in NYC" performed by Kevin Gilbert featuring himself (vox, gtr, bass, keys, cellos, recorder), Mike Keneally (gtr, kalimba, bell piano, recorder), Nick D'Virgilio (drums, backing vox), and Toby Holmes (trombone solo); produced and engineered by Kevin Gilbert. The song was re-arranged completely different from the original Genesis studio album, but maintaining the tagline melody as a basic structure. I do enjoy the opening part where he sung with acoustic guitar and I could not at first guess what Genesis tune he was about to play. This wonderful track, of course, became a masterpiece tribute song because Kevin Gilbert did make a successful performance at Progfest 1994 when he and the band (including Nick D'Virgilio) performed "The Lamb Lies Down on Broadway" in its entirety.

On "Tales From Yesterday" he - under the name of STANLEY SNAIL featuring Kevin Gilbert and Mike Keneally - performed “Siberian Khatru” of Yes' “Close To The Edge” album. It's an excellent performance even though it's not radically different than Yes’ studio album except the inclusion of one of Bruford's melodies taken from solo album during the interlude segment. At the time Nick D'Virgilio (later, popular with his Spock's Beard) wasn't famous yet. With the above background, combined with information available at his website, I could sense the kind of musical style that Kevin Gilbert has adopted. The style has characterized his last album “The Shaming of The True”.

This album represented Kevin's life-long dream - to record a rock opera. Working closely with Nick D'Virgilio, Kevin worked like mad on this project. The concept/semi-autobiographical project is the story of one Johnny Virgil, a broken rock star that battles the demons of stardom and the music industry and comes to peace with his life at the end.

Unfortunately, this was not to be the case with Kevin. Sadly, he never got to see the results of his dream finalized. Kevin Gilbert died on May 17, 1996, of accidental asphyxiation, leaving the project unfinished. After his death, Jon Rubin and Nick D'Virgilio worked for years on the album, picking up where Kevin left off, finishing the album in late 1999. The album was released in 2000 by the Estate of Kevin Gilbert and through www.kevingilbert.com.

At first listen I was not really sure about the kind of music Kevin was going to play as for me the first track “Parade” did not stimulate any typical prog I had been hearing thus far. My preconceived expectation was that he would repeat his wonderful arrangement with Genesis' “Back in NYC” style. So I was dissatisfied for the sake of not fulfilling my expectation. But, one thing struck my mind when I carefully listened to the lyric and this came to be true, especially when I opened the black-and-white booklet of lyrics; it's an excellent rock opera, I thought. And this song is basically about Johnny Virgil's introduction, self proclamation and affirmation about his future as successful musician. "My name is Johnny Virgil and I'm gonna be a Star. Gonna get my share of fame". This ballad opens the odyssey beautifully. It lays a strong foundation for the next tracks with full stream of music rich with variations.

It's worthy to take note here when the album reaches track number 3, “Suit Fugue (Dance of the A&R Men)”, the choir performs wonderfully reminiscent of Gentle Giant. Through this track I knew why Spock's Beard's “The Light” (produced by Kevin) was heavily influenced by Gentle Giant; "Hi, John, it's Mel from Meglaphone. I've been listening to your tape for the 19th time. Oh that's another call - can I call you?" performed firmly with transparent voice augmented with nice choirs. Lyrically, it represents John Virgil's mixed feeling of accepting a phone call from a record company about his demo tape that might clear up his pathways to success. But at the same time it creates another feeling of not being important or significant as the caller excused themselves for another call and closed the conversation. Well, I think this also represents Kevin's personal experience on his struggle with record companies. For example, he was rejected by a major label who produced Econium - a tribute to Led Zeppelin when he submitted the Kashmir tape. The reason was that he was no one.

Another standout track that I like is “Certifiable # 1 Smash” with powerful lyrics and messages that Kevin is trying to convey. This track is dynamic as it outcasts a powerful story with articulate lyrics, performed energetically in an upbeat rocking tempo with excellent vocal clarity voicing anger, frustration and dialogue in a dynamic way. It's an exciting track to enjoy.

This album must be enjoyed in its entirety and it's suggested that you listen to this album while flipping through and reading the lyrics of the 40-page hard-bound book with excellent illustrations (mostly dark). Musically, please do not expect that this is the kind of prog you are used to hearing; it's different. But I can tell you that there is an intensive use of acoustic guitar and piano throughout this album. It was critically acclaimed and won a Grammy nomination for its elaborate packaging (the first issue of 1400 was in a beautiful 40 page hard-bound book).

762

V
Spock's Beard

A review by Mellotron Storm:

In my opinion this is the perfect SPOCK'S BEARD album. It sounds to me like it's more mature than past records, maybe not as dynamic as "The Light" or "Beware Of Darkness" but overall better. I would even go as far to say that this is the best album I have heard that involves Neal Morse. Hey, they even kept the time down to 63 1/2 minutes. They thank Greg Walker and Mike Portnoy in the liner notes.

"At The End Of The Day" is the 16 1/2 minute opening track. It's kind of mournful to start with but it kicks into an uptempo, upbeat melody 1 1/2 minutes in. Check out the thunderous bass! Vocals 2 minutes in and I love Neal's voice. A change 5 minutes in as percussion enters and then chunky bass after 6 minutes, followed by a jazzy section. It settles down before 8 minutes with reserved vocals and piano. Mellotron 9 1/2 minutes comes in as the guitar cries. It gets heavy 11 minutes in with some killer organ and incredible drumming, then it goes mellow again 12 1/2 minutes with reserved vocals and piano leading the way. It kicks back in around 14 minutes with some deep bass lines and scorching guitar; a great opening track.

"Revelation" is spacey to start as a pleasant melody comes in with reserved vocals. A powerful sound enters after a minute and this contrast of light and heavy continues. Nice. I like the liquid keys during the mellow sections. Some ripping guitar after 4 minutes with mellotron that continues almost to the end of the song.

"Thoughts(Part II)" is a sequel to "Thoughts" from "Beware Of Darkness" with strummed guitar and vocals before some heavy bass and a fuller sound comes in. Those GENTLE GIANT vocal arrangements follow and the themes are repeated. Killer bass before and after 3 minutes and later on. What a song! Some cello in this one too.

"All On A Sunday" has been described by Neal as prog-pop. This is such an uplifting song, like sunshine and a warm breeze. "Goodbye To Yesterday" is an older Neal Morse song that the band had ready to record for some time. This one is melancholic with fragile vocals and acoustic guitar, then mellotron comes in on the chorus. There are drums before 2 minutes, and some French horn and piano make an appearance too as it comes to life 2 1/2 minutes in. I wished they had kept it restrained all the way through without these fuller sections.

"The Great Nothing" is the 27 minute closer, divided into six sections. It opens with what sounds like mellotron. Acoustic guitar after a minute and a full sound before 2 minutes as drums and bass lead the way. Mellotron and guitar joins in and I like the upbeat section that follows. A calm 3 1/2 minutes in as reserved vocals and piano take over. Nice. Meaningful lyrics are heard and it picks up 7 1/2 minutes in. I like the guitar and bass, there is nice organ play with drums following. A calm 11 1/2 minutes in with piano and mellotron. Chunky bass 12 minutes in as it kicks back in and a catchy section before 15 minutes with a cool guitar/organ passage after 17 minutes. A calm 19 minutes in with a huge mellotron wave, and acoustic guitar follows. It is heavy again after 20 minutes with guitar and bass and an uplifting section 22 minutes in. The album ends in a spacey, mellow way.

In my opinion this is SPOCK'S BEARD's pinnacle.

A review by Gatot:

I knew Spock’s Beard after they released their third album. Based on recommendation from my prog-mate in Bandung, I then purchased all the first three albums. At that time I was not really "into" prog intensely because I thought that the genre was a bit stagnant. When all the three CDs arrived I was bit disappointed with the music as it was too derivative with bits of "Yes", "Gentle Giant" and "Gypsy King". So I decided not to spin their music but I still continued buying their CDs, though I don't know why. It's probably the band's reputation on the webs as so many people are praising them or probably many of my prog mates talked about the band. I just did not want myself to be left behind. Pretentious? They might be, but actually I rarely spun the CDs of the band until I got my Transtlantic “SMPTe” CD which triggered me to spin some albums of the band.

Well, that's history. Sometimes we can only appreciate prog music progressively through a passage of time. When my prog mate, Koni, who lives in Malang (approx 1000 miles away from Jakarta - to the east), urged me to have another try for this album, I accepted. On the first couple of spins I still did not feel "into" SB music especially on the part which sounds like The Gypsy King (the pop outfit that could flow nicely into my ears). For me personally, the music of SB sounds like it is "being forced" in the way the music sounds, so it does not seem natural for me. But okay, this time I am determined to experience the band's music in a totally different perspective, using different spectacles. I found the Gentle Giant's choir at "Thoughts (Part II)" to be excellent, so I pushed myself to enjoy the music and this is my view.

The album opener, ‘At The End of The Days’ is definitely an excellent track and I'm happy that this is positioned at the beginning of the album. It starts very nicely in an ambient mood with soft keyboard/ mellotron sounds. This opening piece that ends approx in a minute is really melodic and has successfully set an uplifting mood for the album. The drum sound enters gradually, followed later with full music in a funky style led by the beats from a combination of great bass guitar by Dave and drums by Nick. When Neal’s voice enters the music for the first time the rhythm section is dominated by the combination of dynamic bass line, drums and organ in the background. The music turns complex with some great variations on drumming; really great, Nick! The music then flows with a variety of styles; keyboard solo in neo prog vein and slower tempo, jazz fusion style and some transitions with acoustic guitar and percussion. The mellotron work by Ryo has enriched the textures of the track and reminds me of the 70s prog packaged in a much more modern sound. The organ solo is stunning! The guitar work by Alan is much indicated as filler but it has augmented the song really well. Oh by the way, I forget to mention, the harmony vocals are excellent! I am really satisfied with this track.

‘Revelation’ starts spacey and flows in a mellow style exploring the keyboard sounds and effects. The voice line enters with slow beat drumming. The music then flows in crescendo with higher register singing style. It turns quieter again and returns to mellow style. The music turns a bit complex with organ providing a great rhythm sound and solo. There is a strong influence of jazz especially when I observe the organ/ keyboard works. Alan contributes his short guitar solo nicely.

‘Thoughts (Part II)’ opens with a nice acoustic guitar rhythm followed with low register notes vocals; "I thought I'd come to you and say, All the things I had on my mind, I thought it might be really great, To show you how I feel inside, Then I think ... MAYBE NOT ..."; it's a great and atmospheric opening, I think. The music then turns into full sounds nicely with keyboard taking the lead melody. When the part enters this passage it is great; "You wouldn't speak to me, I would be left behind, We'd be through if you knew, All the things in my mind," and the music that follows is really SUPERB! It does remind me of the music of Gentle Giant at its best! Quite honestly, this track was the one that made me willing to have another spin of this CD. The drumming is marvellous! There is some exploration of orchestra in some transitions; really wonderful! I think all Gentle Giant freaks would be amazed by this track, as I certainly am! This is a wonderful composition!

I consider ‘All on a Sunday’ as a ballad rock tune with nice organ/ keyboard work that sometimes reminds me of the Procol Harum style of organ. The music flows straight forwardly with a very minimum variation in style and mood. It's a good track but not essential.

‘Goodbye To Yesterdays’ is another ballad and nice song opened with acoustic guitar. I think Neal is better singing in this low register note. It reminds me of "The Distance to The Sun" track of the band’s "Day for Night" album.

Considering the long duration (27:18) of the epic ‘The Great Nothing’, I expect a lot before enjoying it. It comprises 6 parts, opening with ambient sounds followed with acoustic guitar fills. Nice opening, and then the music then enters in a medium tempo with bass guitar taking the lead for the beats and drum as keeper of the bars. When organ starts soaring, Dave performs his dynamic bass guitar work. The vocal enters in a quieter passage with only piano (and a bit of bass guitar) to accompany it. The music turns slowly into a faster tempo. I do enjoy this when it reaches approx. minute 8 when the keyboard/ organ takes a solo (and effects!) combined with great bassline. Great work, Ryo and Neal! I really enjoy it. The smooth music then turns into an intermittent one during a transition. It's a very good exploration, and this epic offers a variety of styles and sounds/ effects exploring all the talents the band has. To note here is that the guitar work of Alan has been fully explored with this track and in general. The whole album does not explore as much of Alan's to his fullest potential. It's probably the figure of Neal (who happens to be a keyboard player as well) that is so central, that he does not allow much guitar sound in the middle of this epic. Indeed, Alan's solo concludes this epic nicely, augmented with piano.

Overall, I think if you like prog, it is essential that you own this excellent album. Not all tracks are of a high quality though, especially those with ballad styles, but I have to admit that overall, the composition is tight and the musicianship is great. Most reviewers have stated that the band's existence was highly due to the central role of Neal Morse, but I don't think so. Even with the departure of Neal, they still have great sounds and composition in two albums (post Neal):"Feel Euphoria" and "Octane". Even, the band has pushed more in the melodic spectrum of their composition under their latest album "Octane". Overall, I put the rating of this "V" album with 4 ½ out of 5 rating. I would give full five stars if there were no ballads and Alan's guitar work was given more attention. 

763

V: The New Mythology Suite
Symphony X

A review by Ivan_Melgar_M:

Until today I had refused to review any Prog Metal album, being that I didn't have anything good to say about the whole sub-genre, most surely the problem should be in my personal taste; but I just found "V: The New Mythology Suite" by SYMPHONY X and I must honestly say that I'm impressed.

The album combines elements of Metal with excellent Symphonic structures, and that's something I'm able to understand or even like, but this doesn't mean I became an instant fan of the genre. However, it's good to see there's some Prog Metal that I'm able to listen to with pleasure.

From the operatic "Overture" it's easy to know you are listening to something different. All those unnecessary solos and contests of egomaniac guitar pyrotechnics are left aside for a coherent structure; loved the opening.

"Evolution (The Grand Design)” marks a change, were in definitive inside Metal territory which somehow reminds me of the galloping style of IRON MAIDEN and their obsession for Ancient Egyptian obsession, but designed in such way that the Symphonic component is almost as important, of course you will find some fast guitars, but in small dose doesn't harm, and at the end there's not Prog Metal without guitars. The vocals are simply impressive, excellent choral work, another high point.

"Fallen" starts slower than the previous track with a keyboard that leads to an "in crescendo" guitar work, the drumming is extremely accurate, but this time the vocals by Russell Allen are a bit over the top, like he's making an incredible effort not to leave the Metal zone in which he sounds a bit less confident than in Symphonic territory.

"Transcendence" is just a pompous intro (those we like so much) for "Communion and the Oracle" which starts with a soft guitar. It is pretty unusual for this kind of music that sends us to less familiar territory, but again it's nice, though I can understand why some hardcore metalheads don't like this album too much, because it's as Symphonic as it is metallic. The most interesting aspect of this track is how it evolves, linking every section with the next one, in such a way that you almost don't feel the dramatic changes, with Michael Pinella and Michael Romeo doing outstanding work.

"The Bird-Serpent War/ Cataclysm" begins heavier than all the previous songs with the expected (even when uncommon in this album) distorted guitar, again that is reminiscent of IRON MAIDEN, and pulls me towards the most familiar and pleasant sound for a non-Metal fan as me. But what impresses me more is the fantastic synth work.

Somebody please stop the world, I'm listening to Prog Metal and I like it. "In the Breath of Poseidon" is full of pompous and ancient atmospheres with soft instrumental bridges to link the harder sections making the gap between them less evident; simply delightful.

"Egypt", as expected by the name, is mysterious but frantic at the same time, using two concepts that usually are not easy to combine. These are managed with enough dexterity to make them sound as natural partners, and again the vocal work is amazing. Of course the soft piano closing section was a total surprise for me.

"Death of Balance/ Lacrymosa" defies what I thought I knew about Metal, with the aggressive guitars blending with traditional piano in the most Classical sense. This is brilliant, and the controlled cacophony is almost as pleasant, reminding me of a harder version of ELP, but the surprises don't end, as there is another amazing choral section that proves to me that SYMPHONY X is different than most of the bands of the genre. Vive la difference.

Despite "Absence of Light" being the harder song of the album and clearly more oriented towards what I could expect from a metal album, I can't say I dislike it. The elaborate vocal work makes it easy to digest even by a person who usually won't listen to distorted guitars unless forced to do so.

"A Fool's Paradise" starts as frantic and breathtaking, and for the second time it seems like Russell Allen puts in too much effort when trying to be a metal singer instead of a Symphonic Metal singer. However, when someone fails to match my taste, another member rescues the song, in this case Pinella with his impeccable keyboards. Around the middle, Allen recovers the calm and everything matches perfectly again, especially when the chorus enter and during a Bach reminiscent organ section; I loved the song.

"Rediscovery" is the short and softer interlude that places the audience in the mood for the final epic, but sadly it is too short, and I believe they could have exploited it much more.

The almost 12 minutes epic "Rediscovery pt. II - The New Mythology" is the cherry on the top of the cake. The band jumps from one style, mood and atmosphere to another one with absolute coherence, but at the same time in a very dramatic and radical way. They are always linking every section with an accurate bridge usually classical or Baroque, sometimes Bach, but in this case Mozart; another high point of the album.

Now, it is time to suggest my biggest problem. I really enjoyed the album but not enough to classify it as an essential masterpiece of Progressive Rock, so five stars are out of my book, but less than four would be unfair and in a lack of coherence with what I wrote. Now I will get "The Odyssey" and "The Divine Wings of Tragedy" to convince myself that this is not a mirage and that I really like SYMPHONY X.

764

Disconnected
Fates Warning

A review by Mellotron Storm:

This record's theme is about being disconnected from people and society and so the feeling of being lonely and abandoned runs throughout this album. Therefore you shouldn't expect a lot of joy and happiness either lyrically or musically when you listen to this recording. Jim Matheos has sort of left guitar solos in the past for now as he concentrates on playing dense riffs and a heavy rhythmic guitar (grinding away). There is a lot of atmosphere on this disc as well as heaviness. Of course having Kevin Moore on board is great when you need to create atmosphere. Zonder and Vera sure know how to bring lots of bottom end. It is good to see Terry Brown co-producing this record along with the band. They thank former member Bernie Versailles and his and Ray's present band mate with REDEMPTION Nick Van Dyk.

"Disconnected (Part 1)" features Matheos playing a single bended note on his guitar several times that recalls the PINK FLOYD song "Welcome To the Machine". The synths answer the machine in this short gloomy opener. The machine comes back at the end of the album. "One" has an uptempo intro. Zonder is incredible. Tempo changes throughout this song. Adler can sure hold a note as witnessed 3 minutes in and there is some intricate guitar work as well. Adler wrote this song.

The next song "So" has been described as DREAM THEATER meets TOOL. Eerie synths to open as heavy drums and bass come in. The synths sound fantastic and Adler is in fine form. The chorus is heavy and aggressive. It's the Zonder and Matheos show 4 minutes in. An atmospheric passage 5 minutes in contrasts well with the heaviness before and after. "Pieces Of Me" really rocks out with blistering guitar to open as Zonder does his thing. Adler comes in as drums pound steadily and Matheos grinds away on his guitar. Matheos tears it up 4 minutes in.

"Something From Nothing" was also written by Adler and it opens with acoustic guitar and bass. There is a lot of atmosphere as Ray sings slowly. An industrial sound comes and goes, and It becomes FLOYD-like 4 minutes in as the sound becomes eerie and dark. There is actually a sinister feeling that raises its head once in a while throughout this tune. 5 minutes in Matheos turns it up a notch and so does everybody else. Adler is really impressive right now. This is my second favourite song on this album.

"Still Remains" is not only my favourite on this record but it may just be the best song they have ever done, it's that good. A 16 minute journey that starts with a slow pace with lots of atmosphere for 2 1/2 minutes. Then it starts to rise out of its slumber, synths are prominent and we can hear some odd metered drumming and piano. Vera shines on this song especially after 11 minutes, but earlier too. This is a must hear song for all metal fans.

The final song "Disconnected (Part 2)" recalls Kevin's song with DREAM THEATER "Space Dye Vest". The FATES WARNING machine is back! That bended note with atmospheric keys answering back to the machine's wail is great.

This album is pure heaven for me. It blends all the elements that I love about music. I am a huge Jim Matheos fan, he wrote all the music for this record and shared with Adler in the lyrics.

765

Lift Your Skinny Fists Like Antennas To Heaven
Godspeed You! Black Emperor

A review by Warthur:

Just as the ambient end of progressive electronic had Tangerine Dream's “Zeit”, and as the Canterbury scene had Soft Machine's “Third”, just as symphonic prog (infamously) had “Tales From Topographic Oceans”, so too did post-rock have “Lift Your Skinny Fists Like Antennas to Heaven”. If there were ever any doubt that by the beginning of the 2000s a healthy cross-pollination was occurring between post-rock and classic prog, Godspeed You! Black Emperor proved it by putting out a double album of four tracks, each the length of a vinyl side, nearly three decades after the “Topographic Oceans” controversy made such an approach highly risky in a rock context.

It's also perhaps the band's best work, combining some of their most evocative and intriguing pieces of found audio, the dark post-apocalyptic post-rock style they had developed on their preceding releases, and presenting a bit more variation in the sound. Some parts of the album approach dark ambient territory, whilst some of the louder crescendos represent the most complex and musically busy material the band would ever record. On the whole, the epic structure of the album is absolutely perfect for Godspeed's style; they are, at the end of the day, a band all about creating vast rubble-strewn soundscapes for the listener to lose themselves in and explore. One of the essential post-rock releases.

A review by AtomicCrimsonRush:

Spellbinding music to tantalise the senses...

Godspeed You! Black Emperor (GY!BE) is a band that has a massive cult following as an online oddity. I first encountered them on websites and was immediately drawn in by their high strangeness and sonic soundscapes of beauty and darkness. The band have received rave reviews online and have generated a mystique that is unique to the world of music. They rarely picture themselves on albums, in fact even replace themselves for an imposter punk band on this album, and they remain virtually anonymous. The music is made up of lengthy ambience and some chilling crescendos, and scattered throughout are soundbytes of narratives, voices and characterisations that have become synonymous with their sound.

"Lift Your Skinny Fists, Like Antennas To Heaven" is made up of an hour and a half of mesmirising musical scapes over 2 CDs, and is perhaps the pinnacle of the band in terms of atmospherics and emotionally charged climaxes. There is a distinct sadness that permeates the sound, as if one is wallowing in the pits of misery at the depth of their darkest hour, and yet there is something uplifting about the music, almost cathartic to purge the emotions at the edge of madness. It is almost impossible to explain or categorise the music, and even harder to describe what the music is doing to the system, but there is definitely a therapeutic impact that occurs that transcends the normal listening experience. I put this on not really expecting much but as the music gained momentum and became intense I was absolutely moved almost to tears by the sheer beauty and the creative tour de force of GY!BE; there is nothing else like this.

I sat down and read many reviews online as I listened and this even further cemented my impression that I was listening to modern day genius. There are only four tracks over the 90 minutes and they are all jammed with immeasurable dynamism; from the incredible darkness of 'Storm' to the incomparable beauty of 'Static'; and then onto CD2 with mesmirising haunting 'Sleep' to the strange finale 'Antennas To Heaven', this is one of the most compelling albums of the millennium. The sheer synergy of music, effects and atmosphere have the commanding power to absorb the listener and drag them into the sonic intensity. Don't just take my word for it; look at what some of the online reviewers on Prog Archives are stating:

Loserboy: "...easily draws the listener into that relaxed mental spacial void where all one can consider is relaxation. A sonic bonanza for your brain."

BrainRock Ben: "If you only buy one GYBE! album, buy this one."

Jim Garten: "You will not be left humming any melodies, as there are actually very few, you will not have inspirational lyrics to quote to your friends, as the album is completely instrumental, you will not actually know why you like the album, but I almost guarantee you will."

penguindf12: "The post-rock group of the new century. The herald of the apocalypse."

frenchie: "This album offers something new, daring, experimental and heavenly to listen to."

Fitzcarraldo: "Listening to these two CDs is a mesmerising experience. I come away feeling quite refreshed. There are no killer riffs, nothing to make you tap your foot, nothing to make you hum, yet the CDs are compelling."

hitandrun2@gm: "Beautiful, haunting, complex, long, ambient, exciting, gaining momentum, orchestral, voice overs, swept away, GODSPEED YOU! BLACK EMPEROR!"

Cygnus X-2: "It often feels like you're in a dream when listening to these sections. But then when the band erupts into a bombastic section, the atmosphere changes drastically from light to dark, giving a sense of shock and awe to the listener."

Zac M: "A masterpiece like this cannot be overlooked by anyone."

the scientist: "Great monument of Post Rock. Slowly the band create a threatening atmosphere, which becomes all the more intense near the end."

Ricochet: "Gods of Sounds, of Vision, of Context and of Passion that "goes everlasting." "

ClemofNazareth: "This is a great album, just a razor-thin hair shy of indispensable, but better more intense and lasting than the vast majority of things you could stimulate yourself with today ... and not nearly as bad for you as some of those things. Well worth an hour-and-a-half of your life."

lightbulb_son: "The Holy Grail of Post-Rock."

Man With Hat: "This is one of those albums that shakes music to the core, and I am afraid that I can not do this album justice. I still don't think I can capture the pure power of this music in words."

Pnoom!: "I was left dazed, gasping for air, struggling to maintain consciousness as wave upon wave of admiration and awe washed over every pore of my body. I had never experienced anything like this."

Moatilliatta: "The soaring atmospheres will make you motionless, and the climaxes will leave you breathless."

gandalf31: "It was the only album? that changed my whole life forever and ever."

kaiser willhelm: "...spoken word, climaxes, frantic guitars, atmosphere, horns. This album takes a lot of patience and effort on the part of the listener... its a very demanding album but in the end, extremely rewarding."

Preciousgoo: "The songs themselves are vast, blazing deserts of sonic power, that conjure up images of hope, love, sadness, and fragile beauty. Every track seems to live and breathe."

The Truth: "...an eargasm. Music so hard to describe, so hard to get, and yet... You love it. It's just a rarity among music nowadays, something really refreshing to the ear."

I thought these reviews were over the top until I actually experienced it myself and then I knew I was listening to a masterpiece that transcends music and defies description. In conclusion, I think it is fair to say that this album will not be an easy listen but you will come out the other end feeling quite moved by this album. I believe the music causes certain feelings to surface and it will be a personal journey, depending on where you are at in life and what your circumstances are as to how this will affect you. In any case, I applaud the band for creating music for the senses, and not bowing down to what one may consider to be the essential ingredients of music. GY!BE break the barriers of convention and create music without a melody to hook onto, without sung lyrics, without time limits, infinitely patient, with layered sounds generated to fill the silence with sonic violence, and then move the listener with angelic beauty, and then building ever so gradually to a climax, only to break back to an ambience, before exploding into a new exploration of emotion. The album as a whole must be listened to from start to end and not broken into pieces or it loses it's hypnotic stranglehold. This is true earphone music that must be experienced. It may not grab you immediately but it soon transfixes and refuses to let go until the last spellbinding tone resounds. A maddeningly brilliant and unforgettable album of incoherent beauty.

766

SMPTe
Transatlantic

A review by UMUR:

Transatlantic´s debut album “SMPTe” was a nice surprise to me when it was released in 2000. I was a big fan at the time of Dream Theater, The Flower Kings, Spock´s Beard and Marillion, where the members (Neal Morse of Spock´s Beard on vocals and keyboards, Mike Portnoy of Dream Theater on drums and backing vocals, Roine Stolt of The Flower Kings on guitar, vocals, mellotron and percussion and Pete Trewavas of Marillion on bass and backing vocals) of Transatlantic normally spend their working hours. My expectations were of course very high regarding this supergroup and they were met to some extent. By that I mean that I was expecting a new sound for Transatlantic but as it turned out Neal Morse wrote most of the material and “SMPTe” ended up sounding like a Spock´s Beard album most of the time.

I don´t have many reservations about this as I like Spock´s Beard, although I could have wished for a more original sound with four such outstanding musicians. Here on “SMPTe” it just shines through who is in their respective band a little too much.

The album consists of five songs. Three of the songs are long epics while the last two songs are more simple while still in a progressive vein. ‘All of the Above’ is a 31 minute long epic song predominantly written by Neal Morse. It sounds mostly like a Spock´s Beard song and one of the better ones that is. ‘All of the Above’ is followed by the two shorter songs ‘We All Need Some Light’ and ‘Mystery Train’ which are also Neal Morse compositions. ‘We All Need Some Light’ is a ballad type song while ‘Mystery Train’ is a rock song. None of them makes the biggest impression on me.

The epic 16 minute long ‘My New World’ is a Roine Stolt composition and, just as the Neal Morse compositions sound like Spock´s Beard, ‘My New World’ sounds very much like The Flower Kings. I like The Flower Kings so this is a treat for me. The 17 minute long epic ‘In Held ('twas) In I’ closes the album; a Procul Harum cover song, and, even though I don´t know the original, this version is very good.

The musicianship is outstanding as you might have guessed with these musicians, and of course there are millions of parts in the long songs and lots of soloing to satisfy most symphonic prog rock fans. The production sounds very much like a Spock´s Beard album even though the drums have a different sound.

“SMPTe” might not be the most original album as it is very seventies retro in sound, but it is certainly a welcome addition to my prog rock collection. The compositions are of high quality and the overall impression of the album means that I will rate it 4 stars. It´s a long way from being a masterpiece but it´s far too good to only be rated 3 stars, so 4 stars it will be.

A review by AtomicCrimsonRush:

At first glance any prog fan would be drawn into the brilliant album cover of this dream team super group, with its eclectic space blimp soaring across a cloud streaked sky and stagnant seascape. The super group comprises of guitarist Stolt from The Flower Kings, Morse the keyboardist and voice of Spock's Beard, Portnoy drummer of Dream Theater and Trewavas the bassist extraordinaire of Marillion. The mix of musical genius works together to formulate an amazing sound, with incredible musicianship from start to finish.

The first track, 'All of the Above', is an epic and worth the price of purchase alone. At about 30 minutes it moves from song to song with subsections of instrumental prowess unlike anything the band members had tackled in their former groups. Unlike Asia, that virtually shunned the prog style to embrace a more mainstream subculture and indeed the music charts, ala the debut album, Transatlantic are unashamedly and gloriously prog. Time signatures are off the scale and at times they sound like Pink Floyd, or Yes or King Crimson, but mostly like Spock's Beard due to Morse's dominance in the vocal department. It is a terrific debut from the band and definitely one of the best amalgamations of prog legends.

Not every track goes on forever. There is a nice pleasant ballad, ‘We All Need Some Light’, sounding very much like Morse's solo work. The last 2 tracks are mini epics and very well constructed as are all tracks. 'In Held ('twas) In I' sounded familiar and then I realised it was a Procol Harum song, as good as, if not better, than the original.

There is not one filler or throwaway track on the album and it is a very good debut for the band. I for one cannot wait to get hold of more Transatlantic in the future.

767

Lightbulb Sun
Porcupine Tree

A review by Finnforest:

Ohh this is beautiful...

This paralyzes temporarily that part of the grey matter which frets over outside issues and causes the body stress. Frees it up. Takes you in. Not all albums do, not even all good ones. I've always wondered what made Porcupine Tree, this swirl of Beatles, Pink Floyd, Brit-pop, Rush, and Radiohead so able to attract prog fans like moths. The run of great albums from this era through today is admirable under any circumstances, but Wilson has a knack for selling his own visions to a wider swath than most. And none are any lovelier, more poetic, strange, or magical than “Lightbulb Sun”. Those who love heavy crunch will get more bang from the likes of “Fear of a Blank Planet”, but for those looking to lose an afternoon in a cloudy head....is there any better ear candy than this? The harmonies and melodies laced throughout are beyond good, the little aural jackpots come from all directions; biting electric guitar, dreamy acoustic guitars, tight rhythms, soft keys, and devilishly good ideas. The only songwriting pitfall here was trying to do too much in one album. So many colours are introduced, but Wilson absolutely manages to craft a fine album; one of the 90s very best proggy alt-rock mutations. Such melancholic themes of isolation and loss pervade just as the presentation of them leaves one spellbound in a good way.

A few adjectives from the reviews of others... "the PT stuff I love, it has dimension, lush, retro, worldly, best midnight music, transmitting a horde of feelings, cathartic, celestial, has cast a spell over me." I would say it's the musical equivalent of one's first kiss.

The tracks so fresh and alive will be developed further on the next several albums but here they are all in their childhood, and just like with kids, there is a wonder and naivety that hasn't been lost from maturing. Nothing against later work but “Lightbulb Sun” has a very special spark that albums like ‘Rubber Soul” had, as heard in the uninhibited glorious vocals of "Shesmovedon." There is pure McCartney in the piano of "How is your life today." There is the overcast of a good Floyd album, the occasional power of a Rush movement, the coy pop-smirk of certain Brit-pop, the Radiohead guitar solo of "Where we would be." (Side note: while sharing Radiohead's production sheen and control of sound, “Lightbulb Sun” is just so much more FUN than Radiohead.) There are feelings of XTC's "Skylarking" and moments of Graham Nash. There's a slow-motion urgency in some spots, a full-body smooth buzz in others.

"Russia on Ice" is an absolute masterpiece, a 13-minute painting that covers an icy post-rock Mono soundscape, then climbs from a hole in the ground, lumbers, changes shape again, takes flight, lingers, and finally becomes a lightshow seen for miles around. The end stretch is some groove that sounds like putting a Sabbath and Chili Pepper riff into a blender; I'm thinking a young Tony Iommi crushin' it with Flea in some alternate universe. It finally drifts off like a leaf on water. After nine such perfect little vignettes one is left to decompress quietly with "Feel So Low." You look around you, wondering if anyone saw you getting slightly lost in the music. You've just flashed way back to a day you could afford to live with a little more abandon. To smile like you mean it.

Yeah, perfect score here because this one brings a unique charm that the others don't, good as they are. And while there might be more impressive individual tracks on other PT albums, this strikes me as their most memorable and consistent set. 5 first kisses; "The curtains stay closed now on my little retreat."

A review by AtomicCrimsonRush:

10 songs that made a million...

Porcupine Tree's "Lightbulb Sun" ages well like fine wine, and listening back to this after a long hiatus from Porcupine Tree and indulging in so many other artists and styles was sheer bliss. The relaxing feel of the band, the powerful melodies and Steven Wilson's brilliant crystalline vocals were outstanding. The songs that jumped out and brought instant satisfaction include 'Lightbulb Sun' with such a wonderful melody and serene atmosphere. The heavy guitar riff is never overbearing but such a mark of excellence. The quality of the sound is a high point of the album.

'4 Chords that Made a Million' has such an infectious tune that it was hard to get out of my head. 'Shesmovedon' is absolutely moving and of course had featured on other Porcupine Tree albums following this such as 'Deadwing' and many live albums. The lead break is incredible and rises to a crescendo.

It segues into an acoustic jangly passage and Wilson's vocals are mixed to the front, more intimate and not so distant and spacious as usual on the memorable title, 'Last Chance To Evacuate Planet Earth Before It Is Recycled'. Barbieri's keyboards are a beautiful chiming augmentation and the starman alien narrative is a nice touch adding to the atmosphere.

The album is the 6th studio release and, after some intricate lengthy spacey projects with huge epic pieces focussing on instrumentation over lyrics, this was a much more mature offering. The songs are short and memorable and I believe it was the beginning of worldwide success for the band. The floodgates well and truly broke open after this 2000 album with the likes of 3 masterpieces in a row, "In Absentia" (2002), "Deadwing" (2005) and "Fear of a Blank Planet" (2007).

The band were exploring new territory from "Signify" onward discarding the massive epic length tracks which had to happen in order to break into a more profitable market. The shift in style worked for the band and of course they have become one of the most well know bands in the prog circuit. The DVD "Arriving Somewhere" features a lot of past songs from the band's history and from "Lightbulb Sun" the intricate 'Hatesong' is chosen, a song showcasing the heavier side of the band especially the repeated awesome 7 note riff that drives the song with the odd time signature. The musicianship is always exceptional. The band have extraordinary talent and this album is the first truly consistent work in terms of musicianship and song structures.

The dreamier side of Porcupine Tree with strong acoustic flourishes is a major focus such as the lightweight 'Where We Would Be', the catchy 'How Is Your Life Today?' and the ethereal 'The Rest Will Flow'. The longer than 10 minutes track on the album, that became obligatory on Porcupine Tree works in more recent years, is the 13 minute 'Russia On Ice'. Unlike 'Arriving Somewhere But Not Here', or 'Anesthetize', that are both works of brilliance and indispensable in Porcupine Tree's catalogue, 'Russia On Ice' is not as well known. In any case it still is a song with some epic playing and very powerful sections. It begins with spacey keyboards and a heavier guitar, slow and brooding, creeps along the temperate drums. Wilson's vocals sound like the post "In Absentia" tones, reflective and distant; "Can't stop myself drinking, can't stop being me, if I call will you come and will you save me?" The slow cadence is very relaxing but melancholic especially the guitars. The bassline becomes the main instrument in the mid section, and then a crunching metal distorted guitar enters. The rhythm locks in and the song changes into a metal style which is jarring, given all the ambience previously. The sound that follows is industrial like Gary Numan, with mechanised percussion and effects, and even the guitars are machinery like, especially at 10 minutes in. A bell begins to toll after this lengthy instrumental section and the ambience returns.

The album closes with 'Feel So Low' which is lulling and dreamy. Wilson sings quietly "I can laugh about it now, but I hated every minute I was waiting for your email, and each day that you forgot to call, just made me feel so low, so low". Once again Wilson injects modern technology into his lyrics such as emails and later on "Fear of a Blank Planet" the X-box. It is a soothing way to close the album, though Wilson is singing about a broken relationship.

At the end of this album one comes away feeling refreshed and satisfied as the music is uplifting and pleasant ear candy throughout. The best was yet to come but this is a solid album worthy of many repeated listens.

768

Open Sky 
Iona

A review by Mellotron Storm:

I have so many thoughts going around in my head when I think about this album, with these songs, and that island. With IONA, I've never before sat down and read lyrics that had such an affect on me as those written for this album. I have said before that lyrics really aren't that important to me. Give me great music and I'll be happy. Not surprisingly the best quote I read about this band was from a Prog Archives reviewer, tszirmay, who said IONA is more spiritual than religious. And if you read their lyrics and feel their music you would know exactly what Thomas means. I've talked about growing up in a religious home before, and how you are led to believe that religion (church) and God are almost the same thing. Oh, they would never admit that, but if you leave the church they will say you are turning your back on God. The words written by this band reveal how God is all around us, and they talk about experiencing him through nature in particular. I would imagine that to be on that island called Iona off the coast of Scotland without cars, TV, work, stress and the endless running around that most of us do; that it would be the perfect place to enjoy God. Smell him in the sea air, hear him in the crashing waves, see him in the sun that sets; we can experience him anywhere, but it's just not that easy sometimes. What did God say? "Be still and know that I am God". It's hard to be still, to think, to focus, to imagine. Listening to this music does the trick though. When listening to "Songs Of Ascent (Part 2)" (an instrumental) while driving in my truck I felt transported to his very presence. Or was it just having my eyes opened to him being right beside me? IONA are a band who don't preach but are clearly in love with God. I dig that a lot.

"Woven Cord" is an over 9 minutes instrumental. They open with that spacey atmosphere they are famous for until heavy drums arrive before 2 minutes. Uilleann pipes and drums dominate the sound until it calms down after 5 minutes. The guitar a minute later is so beautifully played by Bainbridge. "Wave After Wave" opens with violin and harp before we hear Joanne sing for the first time as drums beat away. She has the voice of an angel. Flute after 2 1/2 minutes. This is so incredibly powerful in an emotional way; "I witness the power, great mystery telling In every moment, with every swelling wave I feel the depth of your love and devotion, My heart like the bird that dives into this ocean blue."

"Open Sky" features Indian guitar and vocals with background synth-like sounds. A great full sound 4 minutes in follows and then spacey synths and acoustic guitar to end it. This one seemed to get better as it played out. "Castlerigg" is very Irish sounding with the tin whistles, uilleann pipes and later the celtic harp. Fragile vocals come in before 5 minutes with violin, then lots of vocal melodies a minute later. The tempo picks up for the last couple of minutes.

"A Million Stars" is an instrumental of mournful violin throughout. The title reminded me of how as a kid I would lay on the grass and gaze in wonder at the millions of stars. "Light Reflected" is mellow for the first 3 1/2 minutes with the focus on the vocals. When she sings "Around the sun" 3 times, her vocals soar. Check out the guitar solo 4 minutes in. "Hinba" features such a great vocal performance, and I love the atmosphere.

"Songs Of Ascent (Part 1)" opens with what sounds like synths that wash over and over again like endless waves on the beach. It's not until 4 minutes in that drums and vocals arrive. You can feel the love in her voice as she sings, "An emptiness for you to fill, My soul a cavern for your sea". After 7 minutes it becomes spacey like the intro with wave after wave calmly falling again and again.

"Songs Of Ascent (Part 2)" is an instrumental of over 9 minutes long. It opens with I  believe the Portugese mandola that is eventually joined by violin and then a full sound. It quickly calms back down to almost a silence. Be still and know. He's here before 5 minutes. No words. Gentle piano comes in slowly 6 1/2 minutes in. Time to reflect for the next 2 minutes until this most beautiful sound rises like a sea of pure love to envelope us.

"Songs Of Ascent (Part 3)" is a meditative piece where she sings these vocal melodies for 2 1/2 minutes, then uilleann pipes and drums kick in. It ends with this wondrous spacey soundscape. "Friendship's Door" is very atmospheric with slow paced, reserved vocals. She sings about the things that take her breath away like trees that sing in the wind, and clouds that chase but never catch. Seeing the invisible through the visible. Uillean pipes before 5 minutes.

This is their masterpiece. It's more than just music.

769

The Seventh House 
IQ

A review by Gatot:

IQ is a neo progressive rock band that is very consistent with the kind of music they play. Musically, there has not been a major leap that's taken by the band to expand their music horizon. They do however, consistently create wonderful compositions in the same kind of musical boundaries of neo progressive rock. This album is no exception, still maintaining the same sort of music. I consider this album a masterpiece with the following rationales: First, it has great songwriting, whereby the music composition has a strong structural integrity within specified tracks. Listening to this album is like hearing a story, regardless whether it's a concept album or not. You don't even need to know about it at all. Second, IQ is still one of the best rock groups that are capable of creating and delivering tasty, touchy and memorable melodies in most of its musical segments. Take an example of the first track, "The Wrong Side of Weird" and you will find so many tasty melodies, especially during transitions, using soft guitar riffs or keyboard. Third, with a passage of time, the music of IQ has become mature compared to previous albums. The first token of this happened when they launched "EVER". I would say after “EVER”, IQ’s music has constantly become better with the passage of time.

Are you ready to surf with their beautifully crafted music? If you like early MARILLION, PALLAS, ARENA, PENDRAGON, you would definitely like this album, guaranteed!

Let me start with the melodious "The Wrong Side of Weird" opening track. This is rich with melodies and beautiful segments. The guitar fills are typical of IQ and it is effectively used during transitions from one melody to another or during a changing tempo. It's not an upbeat track but it has a changing tempo with smooth transitions. It does happen also with the second track "Erosion" that has a mellow and melodic opening. When the music enters, it reminds me of IQ’s early album "The Wake". I think it is reminiscent of "Headlong" or "Widow's Peak" from that album.

The third track "The Seventh House" is opened with simple guitar fills and some piano touch with the tiny voice of Nichols (many people complain about the voice quality of Nichols that does not fit with IQ music, but I don't care! I think his voice is perfect for IQ!). The intro of this track is very melodic and stunning and stimulates me to sing at the same time listening to this track. The music is wonderful when all instruments are played together with a basic rhythm of guitar work. I honestly like the guitar playing style of Mike Holmes; not so complicated but it's very nice! There is a changing tempo to a more uplifting one around the middle of the track indicated by drumming sound. Rhythm wise, there is some "foxtrot" like music. The rest of the track is an encore part with heavy keyboard sound at background and the high tone voice of Nichols, followed by lead guitar work until it fades away.

"Zero Hour" has an intro part that reminds me of Genesis’ "Turn it On Again". Luckily, it's not the same and even the track is a mellow one. As in “Subterranea” album, this track has a solo saxophone at its interlude. "Shooting Angel" is rather a spacey kind of music intro, combining the soft guitar fills (Floydian) and keyboard sound. It moves to an upbeat music when it enters the body. When it comes to the interlude, this band tries to create something different when there is an atmospheric piece before it continues in a lead guitar solo.

"The Guiding Light" is very melodious and uplifting. It has a touchy intro with vocal line and piano at the beginning. The intro part reminds me of "Speak My Name" of “Subterranea” album, even though the melody is different. It also, for some reason, reminds me of Dream Theater's "Space Dye Vest" of "Awake" album. You may disagree with me, but that's what I feel. Don't get me wrong though, all of these three tracks have totally different structures. The music of "The Guiding Light" slowly enters to a more upbeat tempo with stunning lead guitar solo. Thankfully, it's a relatively long lead guitar act, followed by soft keyboard before the vocal returns.

It's an ESSENTIAL album. IQ is not a psychedelic band, however, its music can create an atmosphere that elevates you to the "other world"; melodic and uplifting! MARILLION post Fish era should have learned a lot from IQ. Rating for "The Seventh House" album is 5/5.

2000 continued... 

770

Immortal?
Arena

A review by SouthSideoftheSky:

We're all sucked in!

Released between the two fantastic albums, The Visitor and Contagion, Immortal? is definitely less impressive overall than those two. However, it is still a great album by this brilliant band and there are several songs here that should be considered all time Neo-Prog classics. Immortal? is perhaps a bit more accessible and easier to get into compared to the other albums but it does not have the same degree of staying power.

One of the main attractions of both The Visitor and Contagion were the lyrics that I found profound and reflective. With some exceptions the lyrics of Immortal? are more "worldly", containing lines such as 'ghosts in the firewall', 'viruses in the system', 'binary codes', 'TV screens' and (worst of all) 'the rhythm of the fax-machine' (sic!). All this tends to become a bit silly if you ask me, and considering what Clive Nolan and the band produced elsewhere, this is a bit of a letdown for me.

Is the epic Moviedrome about the "dangers" of television? If it is, isn't that a bit reactionary in the year 2000? The only thing sillier would be to make a concept album about the so called 'millennium bug'! Anyone remember that? "Now is a time of foolish fears", indeed!; "Emotions run high and needless tears are shed"! I honestly don't see any problem whatsoever with television in our lives, but maybe I'm just "the optimist" as the song has it? Or maybe I'm misunderstanding the lyrics? Maybe it is a metaphor for something else entirely? Regardless, this song, though musically exceptional, does not "speak" to me in the way that the entirety of The Visitor and Contagion does, for example.

Having said this, there are some very thoughtful songs here too. The lyrics to The Butterfly Man, Waiting For The Flood and Chosen are more to my taste. The sublime The Butterfly Man is a very existentialist song. It is not about a man collecting butterflies, but about what we might call "the human condition"; "I've been here for so long, Don't even know what my purpose ever was, I don't even know where I belong, Through the years I've been waiting, Even time has lost it's meaning... Don't even hope for an end to all of this, I have no choice, but to carry on". Don't all of us feel like that sometimes when we step back from our everyday practices and contemplate the meaning of it all? On my preferred interpretation, the butterfly man is God. But, as with many Arena songs, I can see other interpretations.

Tracks like Chosen, The Butterfly Man and Waiting For The Flood (my personal favourites) are very easy to like and are almost up to the standards set by Arena's best albums. These three songs, together with the beautiful closer, Friday's Dream, are both musically and lyrically the highlights of the album in my opinion. Ghost In The Firewall, Climbing The Net and Moviedrome, though all very good, are slightly less effective.

Immortal? still displays the same excellent musicianship that I have come to expect from Arena, and the amazing guitar work of John Mitchell and the keyboard wizardry of Clive Nolan are brilliant, as usual. This album also introduced new vocalist Rod Sowden and he fills the shoes of Paul Wrightson very well! Sowden would sound even more at home on the next album, Contagion.

Immortal? is a great piece of work and a highly enjoyable album in its own right, even if I prefer several other Arena albums over this one. If you too like other Arena albums, there is no reason whatsoever that you shouldn't immediately get the present album too; I'm very confident that you will enjoy this one very much as well!

Highly recommended addition to any collection that already holds a few Arena albums.

771

Kid A
Radiohead

A review by Conor Fynes:

When I was referred to 'Kid A' by a friend, he deemed it as being his favourite album of all time, and that 'once you got into it, it would change your perspective of music forever.' I was warned, however, that the music was extremely hard to get into, and that at first listen, I would think it was the worst thing ever. He was pretty much right about everything.

I must admit, I've never quite listened to anything that's like 'Kid A.' It's one of the weirdest pieces of music I've ever listened to, and a nice kick in the face to anyone that doesn't think of Radiohead as being a progressive band.

This is truly what it means to be progressive; there are electronic and jazz influences mixed into an incredibly dense and rich soundscape. At first listen though, I honestly couldn't even get through it. It was too much for me. It was actually after about a week or so that I actually gave it the full listen it deserved, and then things started to fall into place.

This isn't music you put on just to listen to while working. 'Kid A' requires your complete attention to be appreciated. There are so many musical niches in here that just need to become familiarized with, to enjoy. That's why I would have given this one star on first listen, and that's why I would give it five stars now.

A review by UMUR:

Kid A is the fourth full-length studio album by UK experimental rock act Radiohead. I was very fond of their previous album Ok Computer (1997) when it was released and I remember waiting for the release of Kid A with lots of expectations. Back then I was really disappointed and dismissed the album after having listened to it a couple of times and it´s only now that I´ve given the album a second try. Now I find it almost unbelievable that I didn´t enjoy the album back then but I guess my taste has changed with time.

After the grand artistic and commercial success of Ok Computer, Radiohead seemed to have feared to repeat themselves and opted for a more experimental approach on Kid A. Listening to this album it´s obvious that it is the kind of album that should be listened to from start to end to get the right impression. It´s a journey (a concept album if you will). The music is experimental rock with loads of keyboards and programming in addition to Thom Yorke´s distinct voice and melancholic vocal approach. There are not many guitars on the album which dominated Radiohead´s sound on their first three albums. There are great variations between the songs but the album is very coherent nevertheless. I enjoy the driving bass and the brass section in The National Anthem, the string arrangement in How To Disappear Completely and the electronic beats in Idioteque. I even enjoy the ambient Treefingers, a type of song that would normally annoy me but in this context it works excellently as a part of the whole. The more ordinary rock songs Optimistic and In Limbo also work well.

I´ll take my hat off to Radiohead for experimenting as much as they do on this album instead of following the safe formula. The musicianship is excellent throughout the album. The production by Nigel Godrich is excellent too; professional, warm and pleasant.

I´m baffled that I enjoy this album so much. I remember it being completely different, but it´s a good reminder that you should always take one more listen just before you review an album even though you´ve heard the album many times before. You might find that it sounds very different from what you remember when you have the evaluating glasses on. Kid A gets a fully deserved 4 star rating. I´m gonna listen to this album much more in the future.

772

Space Revolver
The Flower Kings

A review by Gatot:

At first spin this album did not attract me because to me the music seemed like it was being forced, and the band really neglect the melodic side of a composition. With a couple of spins, my appreciation towards the album grew significantly, I even thought to myself that the key to enjoy this album is the complexity and abrupt change in style offered by the music. Yes, it's similar with my first experience in the mid seventies with Yes’ "Tales from Topographic Oceans" album which I considered too complex and not melodic at all, but it grew significantly later. Now, arises the question of how to enjoy music from a complexity standpoint? I only have one recipe: let the music flow into your mind and cascade down into your heart, steadily, even though it takes a long time.

Having done so, I even now am amazed with the fact that by I can now fully enjoy the whole stream (from start to end) of the opening track "I Am The Sun - Part One" (15:03) when at first listen I had completely rejected it. I don't really know why I hated the song that is now becoming one of my favorite TFK tracks. Consciously, I really now enjoy this wonderful and energetic track from its intro, all the way through the complex arrangements and variations until the music ends. There are so many style changes from upbeat music into avant-garde and jazz improvisations in the middle of the track till the end. It's really a wonderful composition. I can enjoy the mellow track with jazz touches also, "Dream On Dreamer" (2:43).

"Rumble Fish Twist" (8:06) is an instrumental piece that starts off with sound effects followed by hard driving rhythm music in complex arrangements and relatively fast tempo. The keyboard provides great sound effects accompanied with solid bass lines, guitar rhythm and machine-gun drumming. The guitar solo is truly stunning. I like also the part where Michael Stolt is given space to play a wonderful bass guitar solo, even though only in a short time. The music suddenly moves into quiet passages in a spacey nuance. Bass guitar shows off the talent here. What a great musical break!

"Monster Within" (12:55) is really an energetic song with a very uplifting mood, wow! This track really elevates my emotion especially hearing the powerful vocal by Hasse Folberg and Roine Stolt. It's an adrenalin exploder, really. The music changes in style in the middle of the track with guitar solo and inventive keyboard work. The song ends in an uplifting mood at the end with a somewhat blues influenced style. "Chicken Farmer Song" (5:09) and "Underdog" (5:29) are a bit light in terms of composition, but it's still an excellent song. "You Don't Know What You've Got" (2:39) is a ballad with acoustic guitar rhythm.

"Slave To Money" (7:30) brings the music back into a rather complex arrangement, but with a smooth flow from start to middle until it reaches a change in style and complexity. "A Kings Prayer" (6:02) is a relatively slow track with ambient and balladic style, accessible to most listeners as it has memorable choruses. The album concludes with "I Am The Sun - Part Two" (10:48) beautifully. Overall, it's a highly recommended album.

773

Zero to Infinity 
Gong

A review by Sean Trane:

What a surprise! Some 25 years after ending the Radio Gnome Invisible trilogy, Gong is back with a new tome of the Pot Head Pixie and the planet Gong mythology . Although Daevid had reanimated GonG in the mid-90's and the PHP world was its "fond de commerce", there wasn't much in terms of new stuff for the group to expand upon. So the group went on to write another chapter of the RGI and to be honest, the coup is fairly successful. The line-up helps a lot of course, with all of the major actors (bar the then-ever-absent Hillage and the fact that both now-deceased Moerlen and Pyle were then-busy), we can say that 0 2 Infinity is a classic by the classic GonG. Indeed Malherbe leaves graciously space for newcomer Travis and then-third-string drummer Chris Taylor who are today's first string players..... both of which will have their character in the mythology. While the artwork is unfortunately way too technological (but cosmic still), a superb Mike Howlett production, we'd be pretty well indecent not to enjoy this to the fullest; the latest chapter of Zero's adventures.

After a short Gypsy-like intro, the group embarks with the funky flute, doudouk and sax-laden Magdalene track, before entering a You? like trance number with the Invisible Temple (already chanted via the Inner and Outer Temple of Egg) complete with space whispers, courtesy of Gilly. Zeroid and Wise Man are both among the harder-edged tracks with some solid guitar works, with even some histrionics moments from Daevid. A bit later, Gilly Tyoni's passage on Mars is quite interesting and whisperless.

A bit further down the Milky Way, Gong's music gets downright dissonant and weird with some strange telephone calls and sometimes you can think of Devo in the beat of Damaged Man. The following Bodilingus is quite deceiving, despite being really too relaxed (think of I Talk To The Wind on Crimson's debut), and with too many tracks on this album, nothing exciting happens. Tali's Song is another one of those You-era grooves, but it is almost a filler. Of course the new adventures of Zero could only end at tea break and savouring a cup of Infinitea.

The only other criticism I can see with ZTI is that it doesn't bring anything new to the RGI world, except another chapter of adventures, but then again I'm not sure the goal was that much more ambitious. As for the commercial issues, I'm not sure that this album's kinship with the RGI trilogy will provoke a tsunami of sales that would suddenly make GonG members nababs. The music on it is often excellent, but not brilliant or exciting, despite not being groundbreaking, but the proghead's nostalgic ear should do the rest. This writer's usual aesthtetics would have him normally demolish such an easy touchdown, but then again, Gong was always among my weak and soft spot, which means that the group would really have to screw up for me to reject an album of theirs. This is a partizan four star.

774

The Universal Migrator part two: Flight of the Migrator
Ayreon

A review by AtomicCrimsonRush:

“Universal Migrator” is an intriguing concept epic album from the masterful Ayreon project. As usual this CD features incredible vocal performances from all involved and has some low lights and some highlights, but it all blends seamlessly into one great package.

I purchased this with the special 2 CD package with part one and two together, and when heard together this is the stronger of the two. It is heavier and features blistering compositions such as the magnifique 'Into the Black Hole', Bruce Dickinson's contribution. ‘Chaos’ is also a strong track that rings of the best Ayreon has produced. 'Dawn of a Million Souls' features Symphony X singer and is absolutely brilliant.

CD 2 features the second part to the saga and this is where the double album really takes off if you have that version. It is a much heavier album and features great chunky riffs and soaring lead guitar solos. There are some very riff heavy tracks and these are balanced by quieter moments. The booklet for both CDs is colourful and features iconic imagery. The sprawling concept is bookended on both CDs with the computer program effects.

Overall, I recommend getting hold of the double CD version that features parts one and two as it adds incredible depth to the concept. Part two is definitely the best in terms of a metal sound and great melodies throughout but they are both part of the whole and one cannot really exist without the other. The album is not as good as “The Human Equation” but it certainly is one of the best Ayreon CDs. 4 stars.

A review by SouthSideoftheSky:

Two sides of the same coin?

Flight Of The Migrator is the second out of the two Universal Migrator albums. While the first part was a Psychedelic/Space Rock experience with hardly a trace of Metal, this second part is a full on Metal album (a mix of Neo-Classical Metal, Power Metal, New Wave of British Heavy Metal, and Progressive Metal with traces of Neo-Prog). Even though the two Universal Migrator albums are musically quite different from each other they are thematically connected (and they were subsequently released together as a 2CD package). Again, though they are different musically, they do share many characteristics with each other as well as with the two albums that Arjen Lucassen released under the name of Star One. In my personal opinion, these four albums are definitely among Lucassen's better efforts and as such they are much preferred over some of his overrated and often overblown Rock Operas.

Arjen Lucassen always indulged freely in the worst clichés and stereotypes not only of the musical genres of Progressive Rock and Metal, but also of the literary genres of Fantasy and Science Fiction. The Universal Migrator albums are no exception, but it is bearable here. Like on Universal Migrator part 1, this second part too shows more restraint in terms of the number of vocalists and diverse musical styles. As I said above this mixes different Metal styles, but it wisely avoids the bombastic Rock Opera format that plagued other Ayreon albums. It does tell a story, but the vocalists are not assigned roles to play as such which I found more than a bit cheesy on Into The Electric Castle and The Human Equation. Here Arjen wisely avoids letting the storytelling take over the music. The almost complete absence of narration and sung or spoken dialogue here helps to lower the cheese-factor significantly and bring focus back to the music itself.

The material is relatively strong and very melodic, but compared to the best albums by the bands from which Arjen gathered his all-star cast of vocalists and instrumentalists - Symphony X, Shadow Gallery, Arena, Pendragon, Iron Maiden, Rhapsody (Of Fire), and more - Flight Of The Migrator (or any other Ayreon album) does not come anywhere remotely near their quality.

Recommended, in addition to Dream Sequencer, but is more likely to impress Metal fans than Prog fans

775

If_Then_Else
The Gathering

A review by Bonnek:

If_Then_Else is my favourite Gathering pick; it rocks, it has atmosphere, gorgeous vocals, rich sounds and above all, excellent songs. The album title could have been better though, I don't like being reminded of work when I'm enjoying music!

Each individual track is an adventure. It starts with the stately pounding Rollercoaster, where the Gathering continues the sonic experimentations of the previous How To Measure A Planet, which was a crucial album in their development from melodic doom flavoured metal to something we will call trip-rock, a rocking marriage of trip-hop and space-rock. The dramatic tone and sophisticated arrangement of Rollercoaster is an exemplary achievement in that development.

Shot To Pieces picks up some speed and is one of the most rocking songs they ever did. It is followed by the tender Amity, one of the most beautiful songs in their catalogue. Anneke Van Giersbergen spins her stunning and sensual vocals around a Massive Attack trip-hop beat. There are some occasional vibes, a spacey guitar loop and a blanket of strings in the middle. It's all very minimal but deadly effective.

The Gathering has come a long way since their first album with Anneke Van Giersbergen. The band has converted themselves from a modest doom metal workout into a highly inventive team. Also Anneke's vocals have matured a lot, she uses her powerful chords only scarcely now, only to lay a dramatic accent within songs, such as halfway in Bad Movies Scene and Colorado Incident. Mostly she sings very dynamically, melodious and sensitive. The most spine-chilling moments come in the cleverly sequenced tracks Analog Park and Herbal Movement, both offering textured rock with a delightful balance of experimentalism and catchiness. Also the three last tracks count among their best work.

This album doesn't offer classic proggy features, so you shouldn't visit it on those terms. It's rock with sophisticated sonic experimentations, touching melodic melancholy and a genre challenging stance. Tempted? Besides, who wouldn't want to hear Tori Amos fronting a space-trip version of Radiohead? Now what are you waiting for?

776 - live

Live Archives 70,80,90s
Steve Hackett

A review by Gatot:

True Masterpiece Prog Live Act - great shows, great tracks, great musicians, and crazy audience!

Having watched and being completely stunned with Steve Hackett’s "Once Above A Time" DVD, I played back some of Steve's albums including this live archives from my collection. For some of you, you might have known Steve only from his tenure with Genesis and probably still label him with something like "ex Genesis guitarist" and you might not know of his work after he left the band. That's the same case with me when I got the cassettes of his first two albums, as I still considered Steve as Genesis guitarist instead of Steve as a solo artist and never played the cassettes intensely. Until one time in a rock show performed by an opening act of Uriah Heep Live in Bandung, Indonesia sometime in 1980, I think, there was a local band that played Steve Hackett's "Ace of Wands" excellently. It strikes my mind really, so when I went home I played this song over and over. That's the first love I had for Hackett. I was hooked with "Voyage ..", "Please Don't Touch", "Spectral Morning" and "Defector". For me, Steve has produced many great prog tunes that I consider now as classics, such as, "Every Day", "Star of Sirius", "Ace of Wands", "Narnia", "Clocks", "Shadow Of The Hierophant", and many more great tunes.

When this live archives CD came out, I was not really interested to purchase it because I thought that I would get some standard version of studio tunes performed live. But, finally I purchased the CD because it was relatively cheap for 4 CDs set and for completing my collection. When I spun the CDs, I was stunned with the fact that all 4 contained great show recordings, great performance, great tracks and dynamic nuances indicated by the audience during the show. The four CDs span across live acts in three different venues: Hammersmith Odeon 30/07/79 (CD 1 & CD 2), Castel Sant' Angelo - Rome 13/09/81 (CD 3), and The Grand Theatre - London 08/06/93 (CD 4). As I'm impressed with the contents of all four CDs, each concert deserves a detailed review. For those who do not like to read long reviews, my advise is to get this box set as you will not regret it!

Hammersmith Odeon - London 30/06/79 CD 1: 55:32 and CD 2: 56:29.

The band: Steve Hackett (guitars, harmonica and vocals), John Hackett (flutes, guitars, bass pedals), Dick Cadbury (bass and vocals ), John Shearer (drums ) and Pete Hicks (vocals )

The show starts with an ambient keyboard solo performed very soft to give a nuance for the show. It flows seamlessly with "Please Don't Touch" with the mark of dynamic drum sound in a very energetic mood with excellent guitar and keyboard works. The track is best to open the show as it has an uplifting style and it's a classic prog tune. I can hear clearly how Steve’s guitar plays great sounds and its effects. The next track "Tigermoth" (from "Spectral Morning" album) opens with a classical guitar outfit followed by full music led by guitar work. The track has some segments with quieter passages in avant-garde style. It ends-up with a nice church organ and it continues with my all-time favorite Hackett track "Every Day". This track has a simple structure. At the beginning it seems poppy or as a straight forward rock song with some quieter passages in Hackett style. A true adrenalin-exploding segment occurs when a long guitar solo enters the scene. The guitar melody is really wonderful with some complicated fills by Hackett’s unique style and it goes into higher register notes, combined with flute sound. I usually repeat this track 2 or 3 times because I want to replay this part frequently. Great guitar, Mr. Hackett!

Another classic track "Narnia" (from "Please Don't Touch" album) continues the show in an upbeat tempo. The slow style with eastern music flavor "The Red Flower of Tai Chi" (from "Spectral Morning" album) gives an excellent break on my listening pleasure and it then moves up again to a groundbreaking classic "Ace Of Wands" started with a dazzling drum. The intertwining works of guitar, keyboard and flutes are really good. Oh man . this is a wonderful track performed better in live version! It continues with "Carry On Up The Vicarage" in happy mood because the voice line is performed by children with programmed sounds and effects. Interesting track.

"Etude in A min" - "Blood On The Rooftops" - "Horizons" is an acoustic outfit. The audience seemed longing for this track especially when "Blood On The Rooftops", all of the audience shout and gave applause. It is then continued with "Kim", performed excellently with acoustic guitar, keyboard and flutes. The audience participant becomes really obvious just before and during "The Optigan" - "A Tower Struck Down" (of "Voyage ." album) are performed. A very good track composed in horror mood with variety of styles. CD 1 concludes with a classic prog tune "Spectral Mornings".

CD 2 opens with introductions to the band members. The band then plays Hackett's classic "Star Of Sirius" (from "Voyage ." album) with quiet opening - demonstrating keyboard and guitar fills in mellow style. The music then turns to full stream with bass, drums and other instruments in a faster tempo, the track performed similar to the studio version. An interesting track. The other classic "Shadow Of The Hierophant" that featured Sally Oldfield (vocal) in studio version is now performed nicely with this live record. "Clocks" (from "Spectral Morning" album) is performed dynamically as the audience participate in hand clapping during the tune. From the beats that follow the clocks it turns to a medium tempo beat music with stunning guitar in rocking style. It ends up with an excellent drum and percussion solo. An excellent performance! It seemed like this track was intended to close the show, but the audience give more and more applause to request the band’s return on stage. Finally they make to the stage with Genesis tune "I Know What I Like".

On Genesis' "I Know What I Like" part, the audience is really getting into a much more crazy mood, and more dynamic to participate in the show. It's a great audience with thousands of people in the crowd, I would say. This tune is suitable to play as an "encore" role for the show. The singing style is modified to stimulate much audience participation, and bass guitar is played differently combined with improvised drumming. Guitar work is extended and in some part features the "Dancing and The Moonlit Knight" combined with excellent flute sounds and piano/ keyboard. It's a great and dynamic live track. The ending part of this track is also modified in such a way that it differs with the original Genesis version but it's nice and dynamic.

The music is then continued with "Wardrobe Boogie" in a great guitar improvisation in boogie style. It seemed, again, the audience did not want to leave the venue with this encore. They clapped hands and shouted for approx. 3 minutes - and it is not cut-off in this live record (thanks!) that indicates the "true" stage situation during the show - and finally the band came back on stage!!! What a crazy audience, man! And Mr. Hackett said "It seems you force us to play another one tonight," and the audience replied with "Yeaaahhh!!!" Now the band continues with "Racing In A" (from "Please Don't Touch" album) in relatively long duration (10:15) and "Racing In A Coda" - an acoustic outfit by Hackett.

Even though the sonic quality of CD 1 and 2 is not very good, but it's acceptable for me and the performance and the music are really wonderful!

Castel Sant' Angelo - Rome 13/09/81 - CD 3: 74:50

The band: Steve Hackett (guitars, harmonica and vocals), John Hackett (flutes, guitars and bass pedals), Nick Magnus (keyboards), Chas Cronk (bass and vocals) - usually played with Rick Wakeman and Ian Mosely (drums) - whom later you would know him as permanent member of Marillion replacing Mick Pointer after the performance of Script for A Jester's Tear tour.

As Steve put it in the CD sleeve, "And don't forget the crowd. They couldn't have been more enthusiastic - spontaneously bursting into applause for anything that grabbed them, never mind waiting for solos. What I am saying is, that this show was, I think, possibly the best this line-up ever performed"; this is a dynamic live concert.

The CD 3 starts off with a track from an under-rated album "Cured" with an instrumental piece "The Air Conditioned Nightmare", and it continues with another instrumental from "Defector" album called "Jacuzzi". Both tracks receive great applause from the audience. After the opening two tracks, Steve introduces Nick Magnus and continues with the third track, "Funny Feeling" with vocal line. It's poppy stuff but it's nice. After this track, Steve continues the communication telling the crowd how he felt at home with some local language.

He then introduces the next feature from "primo album" called "Ace Of Wands". As usual, this is my all-time favorite track of Hackett, and it starts with a dynamic drumming. The crowd clap throughout the performance of this track. It has been improvised in this live version. Before it continues with "Picture Postcard" which is another pop outfit, Steve communicates again. The next three tracks are really my all-time favourite; "The Steppes" (from "Defector" album), "Every Day" (from "Spectral Mornings" album) and "Overnight Sleeper" (from "cured" album). "The Steppes" is an instrumental piece in a medium tempo, blues based, with an eastern music nuance on guitar and keyboard styles. It's an album opener for “Defector” and it's very nice and easy to digest. The guitar solo is stunningly performed here with soft touch on the guitar strings.

"Every day" receives great applause from the crowd as they clap hands when the song starts to blast the air. It seems they love this classic track. This has made this track more dynamic and lively. Many times this song is featured in Hackett live performances, and I still enjoy this version. Each version has its own nuance and I love almost all of them. This version has a great drum solo (very short) and some improvisation at the ending. Well, it all confirms that Steve is better solo than as a guitarist of Genesis!

"Overnight Sleeper" opens with acoustic guitar work followed with dynamic keyboard sounds and great melody. I love the opening part. One of my chief reasons of why to buy the "Cured" album which most people under rate, is because of this wonderfully crafted song. In this live version, Steve does perform it with enthusiasm and full of energy as the song itself has a variety of styles - that is also combining some traditional music with woodwind sounds. Oh man, this track is WONDERFUL!!!

Other three tracks are really Hackett true classics with great compositions: "Slogans" - "A Tower Struck Down" - "Spectral Mornings"; another great live performance! "Slogan" is performed really lively and has been improvised to feature extended guitar solo and drumming solo. Really great and it rocks! "A Tower Struck Down" is performed lively and continued without break to "Spectral Mornings"; a killing track.

"The Show" (from "Defector" album) is an upbeat tune that can accommodate crowd applause throughout the performance on stage. It flows seamlessly to the intro of "Clocks" (from "Spectral Mornings" album) that concludes this CD 3.

The Grand Theatre - London 08/06/93 CD 4: 70:54

The band: Steve Hackett (guitars, harmonica and vocals), John Hackett (flutes on "Kim"), Julian Colbeck (keyboards), Doug Sinclair (bass and vocals), Hugo Degenhardt (drums and vocals).

On top of the great performance of CD 4, one thing that stands out clearly with this live performance is the great contribution of Hugo Degenhardt. He is a fantastic drummer! He did contribute to Mark Owen’s "In Your Own Time" which John McLaughlin contributes as producer. I am keen to know about him because his drumming style is top notch! The other great musician in this line-up is Doug Sinclair (bass). You can see how great his and Hugo's playing is on track 10 of this CD. Both musicians contributed on Steve's "Dark Town" album.

From the start of "Medley" where it features Myopia/ Los Endos/ Imagining/ Ace Of Wands/ Hackett to Pieces in relatively fast pace, sounding like a jazz rock fusion tune, it's clear how powerful the drumming style of Hugo is here. I think "The Hugo factor" has in a way made a great contribution to the great performance of this CD! He sets the powerful and energetic tone of the show, I would say; it's very dynamic!

"Vampyre With A Healthy Appetite" starts off with rocking guitar solo and followed with a medium tempo that features guitar rhythm and fills. The harmonica takes the lead during an interlude followed with bass guitar solo. In "Sierra Quemada" and "Take These Pearls" the band offer mellow and nice instrumental tunes. It continues with a classic track "In The Heart Of The City" - "Walking Away From Rainbows" - "There Are Many Sides To The Night". A tribute to Steve's wife "Kim" is also featured.

"Dark As the Grave" explores acoustic ventures with great sound effects. An interesting song. "Always Somewhere Else" is really a GREAT track that explores the talents of Mr. Hugo Deggenhardt and Mr. Doug Sinclair; their dynamic play in this track is really superb! I keep repeating this track because of wanting to enjoy it more and more . Bravo Hugo! Bravo Doug! Bravo Steve! (who has successfully brought together great musicians like Hugo and Doug in this wonderful live set!).

"Lost In Your Eyes" is not my favorite but it's OK. But the "Medley: Spectral Mornings/ Firth of Fifth/ Clocks", "Cinema Paradiso" and "In That Quiet Earth" are really excellent tracks! They are well positioned to close the show.

OVERALL RECOMMENDATION

Before I make my final recommendation, I would emphasize on the sonic quality first. I would say the sonic quality is not excellent but it's okay to my ears. On a ten-scale system, I would rate the overall sonic quality as 6.5 out of 10 - with exception to CD 4: 8 out of 10. But, considering that this is a live archives and I still can grab the music in a detailed manner, I have excluded the sonic quality in my overall recommendation. So, my final rating is 4 out of 5 stars. You are the final judge on your purchase decision. If you love Hackett era of Genesis, I would be pretty sure you would love this live archives. On top of the music, the 40-page booklet is really nice as your prog reference. Long live Hackett!! 

2002

795

Remedy Lane
Pain Of Salvation

A review by Finnforest:

"Remedy Lane" is another very interesting prog metal album and only my second PoS review so I'm not qualified to rank it amongst their others, but I will say that I prefer the live "Be" material to this one.

That said, this is still a heck of an album. Complex structures, unbelievable musicianship, good vocals; it's all there. One of the things that blows me away about this group are the guitar solos, of which there are not quite enough! But Johan Hallgren has this amazingly interesting style of soloing that will be hard to explain, but I'll give it a shot. I don't know about you but when I listen to many guitarists do their solos, my mind usually assimilates the song and player fairly quickly and I can hear where the solo will go ahead of time, in other words they're often predictable. Even on albums I've not heard a million times, you can get pretty good at just knowing where a player is going with something. But with Hallgren I have noticed that he rarely goes where I expect him to and he frequently surprises me. In addition to this, he will also get to what you think is the end of a given run of notes, and then he'll tack on something extra right there where you would normally expect the next "part" to have already begun. Both of these tricks make it really fun to listen to him play. I only wish he had more time on his own, as he is usually on a short leash due to the rigid structure of PoS songs.

Which leads me to my criticism of the band. As good as the album is, and as much as complexity can be wonderful, “Remedy Lane” at times nearly suffocates in its seriousness and complexity. There are times I would really love to hear this band explode into a different kind of jam, looser and free of Daniel's constant lyrical drama. I'm not tanking the album over this because I still like it very much, just needed to point that out. I'd love to hear these musicians go nuts without Daniel just a little more.

Hermansson and Langell are also veritable forces that raise this band above so many of their peers. The keys and drums are so consistently good you take them for granted after a bit. Very impressive, and then there's Daniel. What can you say? I imagine he's one of those love him or hate him kind of presences for metal fans. You could say that he's too overbearing and keeps this band from reaching where they could if they had more freedom from his epic concepts. On the other hand his songwriting talent is undeniable as is his vocal range, his charisma, and his amazing talent for turning emotion on a dime. He's good mellow, he's good at power, he's good at rage, and he can so smoothly shift gears where lesser singers would have difficulty.

It's impossible for me to find enough adjectives to go track by track on this release because there is so much consistency and thankfully it's uniformly good. If I had to pick one song that knocks me to the floor it might (on this day) be ‘Rope Ends’ with its jaw dropping shifting rhythms, piano parts, and guitar. It's a killer.

I really look forward to hearing “Scarsick” and know what all the fuss is about. That one seems to divide the fanbase which means it must be interesting. As for this one, there's not much division. Recommended to all PoS fans and prog metal fans without hesitation.

A review by Conor Fynes:

One of my all-time favourite records, Pain Of Salvation have crafted a true work worthy of being called a masterpiece. There is a fantastic sense of flow on this album, and the concept (albeit a bit hard to follow) is interesting and emotionally driven. What you get is an incredibly empathetic work, taking you from feelings of Sadness to Fear to Heartbreak and the occasional glimpse of Love and Devotion.

Lyrically, 'Remedy Lane' is semi-autobiographical, concerning different, important times in the songwriter and vocalist, Daniel Gildenlow's, life. Much of the content revolves around the apparently torrid lifelong romance between the protagonist and his love. What comes through is a great amount of sincerity, and a sense that Gildenlow truly means and cares about the music he is writting/performing. The feeling is rare to be felt, especially in the progressive metal genre.

The music is beautiful, to be blunt. Even the heavier parts such as the highly progressive polyrhythmic 'Rope Ends' emit a vulnerable, lamentable beauty about them. An hour of such a gut wrenching, depressing, and invigorating journey can leave one pressed for tears... A true, beautiful masterpiece, and will always hold a special, relatable place in my heart.

A review by AtomicCrimsonRush:

I first encountered this amazing album online, hailed as one of the greatest prog albums of all time so I had to check it out. I was not disappointed. Daniel Gildenlow is the backbone behind this sprawling saga of a woman who decided she could not take it anymore and therefore indulged in the final solution, a walk down 'remedy lane'.

The musicianship is excellent throughout from Daniel Gildenlow Guitars, Vocals, Fredrik Hermansson, Keyboards, Johan Langell, Drums, Johan Hallgren, Guitar, and K Gildenlow, Bass.

There are three chapters that unfold the captivating and distressing emotional story. Chapter 1 is comprised of 'Ending Theme', 'Fandango', 'A Trace of Blood', and 'This Heart of Mine (I Pledge)'. This chapter begins with melancholy symphonic styles and then launches into full blown prog metal with the awesome 'Fandango'. This track is my favourite on the album and features some of the most complex out of synch drumming you will hear. It is stunning how the drums are off kilter at times adding to the sense of madness and alienation. The fractured rhythms and metrical patterns are unburdened by lilting, shimmering keyboards and arresting low pitched guitars. The riffing is hypnotic as are the vocals of Gildenlow that are as bizarre as the lyrics. The other tracks are very solemn, sombre ballads that are at times beautiful but cast a shadow of darkness to come.

Chapter 2 comprises 'Undertow', 'Rope Ends', 'Chain Sling', and 'Dryad of the Woods'. This is the most haunting chapter beginning with the powerfully executed 'Undertow'. 'Rope Ends' is the most memorable track for me as it features the chilling lyrics about how the lady hung herself with her husband's Winnie the Pooh and Eeyore silk tie. The illustrations in the booklet are unforgettable. The chorus is melodic and very sad echoing the pain of the traumatic female's mind. 'Chain Sling' is a very off kilter track with strange harmonies, and 'Dryad of the Woods' is a wonderful instrumental that slows things down acoustically somewhat to prepare us for chapter 3.

Chapter 3 consists of 'Remedy Lane', 'Waking Every God', 'Second Love', and 'Beyond The Pale'. The first track is a veritable summary of all the events thus far. The pace is slowed down with symphonic ambience with 'Waking Every God' and 'Second Love'. One of the best PoS tracks is 'Beyond the Pale' that is also the longest on 'Remedy Lane' at almost 10 minutes. This track features heavy metal guitar riffing and time signature changes throughout. It begins with a repetitive estranged pitchy guitar sweep. All is masterfully executed with glorious lead guitar breaks and the awesome vocals of Gildenlow. It finishes the album on a high note amidst all the darkness, like death coming to life.

So my first taste of Pain of Salvation has been a pleasurable one, with many more to come. I liked how they structure their music and the songs are not as heavy as other metal prog bands I have heard. They have a quiet patient ambience blended with sharp blasts of metal distortion. The tracks are easy to listen to though the concept was a bit dark and heavy handed for me. I have never been a fan of suicide depression themes as they are obviously downbeat and morbid. However, for pure innovation, this album is certainly worthy of any proggers collection.

796

In Absentia
Porcupine Tree

A review by UMUR:

“In Absentia” is the Seventh full-length studio album by British progressive rock act Porcupine Tree. The band has gone through quite a development in sound since their debut release “On the Sunday of Life....” (1991). Starting out as a one man bedroom recording project playing psychedelic progressive rock and growing into one of the most influential and successful modern progressive rock bands is quite the achievement. I haven´t been much of a fan of the early releases from the band even though most were good efforts (nothing outstanding though). “In Absentia” has totally changed my view on Porcupine Tree though and finally Steven Wilson & Co. have created a sound that fully captures my attention.

While the music is still unmistakably Porcupine Tree, a couple of new elements have been added to their sound. Steven Wilson had acted as producer for progressive death metal act Opeth on their 2001 release “Blackwater Park” and on “Deliverance” (2002) and “Damnation” (2003) both the latter were recorded during the same sessions as documented on the “Lamentations” (2003) DVD release. Maybe the Swedes have had an impact on Steven Wilson because Porcupine Tree have surely gotten a lot heavier than they used to be, especially compared to the two more mainstream oriented and polished predecessors “Stupid Dream” (1999) and “Lightbulb Sun” (2000). There´s an emphasis on beautiful song melodies but there´s certainly also an emphasis on experimenting with song structures and genres. The music is not overtly complex though and the experiments never take away the melodic focus in the songs. The heavy element which is heard in songs like ‘Blackest Eyes’, ‘Gravity Eyelids’ and ‘Wedding Nails’ is only a new added element in the sound, not a dominant feature in all songs, so by all means don´t expect this to be a heavy metal album.

There´s some excellent mellow and beautiful songs on the album in addition to the more experimental and heavy songs. Examples are ‘The Sound of Muzak’ (which has one of the most infectious choruses I´ve ever heard), the ambient .3 (which reminds me of the Dutch pop/ rock act Hooverphonic) and the closing ‘Collapse the Light Into Earth’ are all good examples of the more mellow side of Porcupine Tree on “In Absentia”.

The musicianship is fantastic. Excellent and tight performances by all musicians involved. I really enjoy Steven Wilson´s beautiful vocals (even though he has quite an anonymous voice he really knows how to use it to full effect) and his occasional fierce guitar playing. The rhythm section is outstanding too and ex-Japan keyboardist Richard Barbieri has a tasteful style to my ears.

The production needs a special mention as it is fantastic. Absolutely wonderful clean and modern production. Some people might miss a bit of organic warmth but I couldn´t wish for a better sound.

“In Absentia” is by far the best album Porcupine Tree had released when it came out and finally an album by the band that I enjoy for the whole duration of its playing time. There was always something on the earlier albums that I found dull or superfluous and that annoyed me every time. With “In Absentia” the band have cut away all unnecessary and disturbing elements from their sound and what is left is an almost perfect album of progressive rock. As close to a masterpiece as you get without being awarded the 5th star by this reviewer. A BIG 4 star rating it will be and a recommendation from me that this is a must hear album.

A review by AtomicCrimsonRush:

One of the greatest example of neo-progressive rock by arguably the best in the business. Porcupine Tree have triumphed with their unique blend of soft acoustic melodica merged with heavy crunching killer guitar riffs. Wilson's voice is mesmirizing on every track. Barbieri's keyboards are a beautiful touch that permeate the album from beginning to end. It is a masterfully produced work that deserves all the attention it has garnered. Streets ahead of previous Porcupine Tree material and the best was yet to come following this album. But “In Absentia” is an excellent way of being introduced to this important heavy prog band. They are complex in parts but never over excessive, and the melodies remain in your head well after the CD has ended. The production and art work are worthy of note too; a juxtaposition of sound, visual images and symbolism to paint a picture that is powerful enough to remember.

Highlights include the wonderful 'Blackest Eyes' with the inspired riff that propels it to its sudden conclusion. The time signature shifts are classic prog rock. 'Trains' is an excellent acoustically driven track that even sounds at one point like a train on a track, especially the ending. A lot of this track, and others, sound curiously like Pink Floyd meets Yes. There are undoubtedly huge influences from classic prog bands in this music. 'The Sound of Muzak' has a very catchy melody and Wilson is in full voice, as are the harmonies from other band members. Check this song out for a great example of melody and awesome musical interludes. 'Collapse the Light Into Earth' is a mesmirising slow moving track that uses techniques of minimalism and a huge wall of sound builds up to a crescendo. The track sends you to another place, and has the power to entrance the listener. Close your eyes and let it take you. It is as relaxing as anything the band were producing in their early days.

All the tracks are unique, inspired and demonstrate the musical complexity that is essentially Porcupine Tree. Many tracks appear on the live DVD “Arriving Somewhere...” but the studio versions presented on this album are the best versions.

A real surprise! I was blown away by the musical dexterity and depth of this album. Following this was “Deadwing” which is even better! Both are recommended!

A review by Conor Fynes:

“In Absentia” is the Porcupine Tree record I've always found to be overshadowed by it's two counterparts of the same era, “Deadwing” and “Fear Of A Blank Planet”. Both were complete and utter masterpieces, but what of “In Absentia” itself? There is certainly masterpiece-quality songs on here, and a lot of them at that, but there is little to no flow that ties the songs together. If I was rating this simply based on it being a random collection of songs, sure, I would give it five stars. But I'd prefer to mark it based on how it fares as a complete work.

The only songs that I wouldn't consider amazing are 'The Creator Has A Mastertape,' 'Lips of Ashes,' and 'Strip The Soul' which don't really appeal to me, especially the first mentioned. Everything else is fantastic Porcupine Tree worthy of the band's reputation of creating high quality and uncompromising music.

But how can I listen to something that doesn't feel like it should be listened to from start to finish? Sure, the first few times I listened to “In Absentia”, I went from start to finish and didn't really mind the fact that the songs don't match up and form a whole... But it really got to me after about five listens, and I decided to pursue a different course, which would be to listen to songs out of order in my preference, seeing as it didn't really make a difference due to my lack of appreciation for the set-up of the album.

As always, the sound quality and production is up to a traditional Porcupine Tree standard of excellence. The song 'Heartattack In A Layby' remains one of the most beautiful songs I've ever listened to...

“In Absentia” is great for the music itself, but in terms of what a really effective album should look like, it's a bit upsetting that such a potentially masterful work could have been detracted so much by a relatively easy to remedy issue. However, for the songs themselves, this is certainly an excellent addition to any prog collection, and it's a definite worthy buy, especially if you're not too concerned with album structure.

797

Contagion
Arena

A review by SouthSideoftheSky:

I am now officially contaminated too!

On the first couple of listens, I thought that “Contagion” wasn't even close to being as good as the fantastic masterpiece that was “The Visitor”. However, to be honest, I didn't realise just how great “The Visitor” was right from the start either. Like with “The Visitor”, it took me several listens to get into this album. Yet, when I finally got into it, “Contagion” didn't stop growing on me and I now think that “Contagion” is almost on a par with “The Visitor“. At some point I even thought it was even more impressive, but it does not quite have the same staying power as “The Visitor”. The two albums are both masterpieces though, and even if Arena have always been my favourite Neo-Prog band, they have now established themselves as one of my favourite bands of all time regardless of genre! And that is no small accomplishment for a Neo-Prog band, given that I have never been a big fan of the Neo-Prog genre. But then again, Arena is certainly not your typical Neo-Prog band, at least not on this album which might be the band's most original and distinctive recording.

Like “The Visitor”, “Contagion” is another concept album where every song is part of a larger whole and the whole album hangs together incredibly well. Again like “The Visitor”, “Contagion” works as an organic whole where the whole is greater than the sum of its parts. The songs flow into each other and some themes return in several songs to great effect. There is again a perfect balance between vocal numbers and instrumentals and many different moods and tempos are displayed throughout the hour long album. Everything is exactly where it should be and the listener is treated to one great song after another from start to finish. The melodies are all remarkably strong, the musicianship is outstanding and the production is faultless. Even the cover art is amazing! (which is great after the not too interesting cover art to “Immortal?”).

I initially felt that the album's best moments where at the start and at the end with songs like ‘The Painted Man’, ‘A Spectre At The Feast’, ‘Cutting The Cards’, and the reoccurring “surely there is someone who will reach out”, a theme that is first introduced in ‘An Angel Falls’, and that the album kind of lost its direction a bit in the middle. However, after further listens I now think that the tracks in the middle are just as strong as the rest. It is very hard now to pick out favourites; there simply are no weak moments!

Arena have always had their very own musical identity, but with each subsequent album they have made more out of that identity and become more original. It is no longer appropriate (if it ever was) to describe the music of Arena as a darker and heavier Marillion; the influences on this album are broader and include influences from Queen, Pink Floyd, Yes, Genesis and much more. Arena's music is perhaps still not truly groundbreaking, but I also do not find it derivative at all in any objectionable sense (and I am usually very sensitive to that type of thing). “Contagion” is even darker and harder edged than “The Visitor” was.

The bass guitar of Ian Salmon stands out as being much more prominent and distinctive compared to earlier Arena albums. There is a great, heavy bass sound. The guitar work of John Mitchell is, like always, fantastic and there are many opportunities for him to shine throughout this album. Clive Nolan's keyboard wizardry is also brilliant and he gets his fair share of the spotlight. The instrumental ‘Riding The Tide’ is the only heavily keyboard dominated track, and this one if strongly Tony Banks influenced while the organ solo in ‘On The Box’ is more Rick Wakeman-esque. But Nolan mostly has his own style and identity. One thing to notice is that there is more piano than acoustic guitar on this album, while it was the other way around on “The Visitor”. The frequent use of piano together with the way the songs flow into each other somehow makes me think of Queen's “A Night At The Opera” (which is another one of my all time favourite albums).

Mick Pointer's drumming is sometimes criticized, but I find nothing wrong with it. This is not complex Jazz-Rock/Fusion and neither needs to be. The vocalist, Rod Sowden, who had been introduced on the previous album, has a great voice that fits this type of music perfectly. He sings every single note like he really means it! Arena has really been very lucky to find great vocalists and Sowden's performance on this album is remarkably strong.

One of the things I liked so much about “The Visitor” was the dark, mysterious lyrics. Thankfully, the lyrics are once again back to the standard (at least) of “The Visitor” here after the partly more 'worldly' lyrics of “Immortal?” Clive Nolan has really put a lot of effort into the lyrics that contain many hidden meanings that leave a lot for the listener to contemplate. Apparently, the album is based on a fairly elaborate story. However, they do not make the common mistake of letting the story take over the music. The lyric for each song also has its own meaning and value independent of the story. I honestly think that this is the best story based album I have ever heard! The lyrics are intriguing and unique and they can make you think deeply, but you can also ignore them and simply enjoy the music; this album can be enjoyed on so many different levels!

At first I didn't like the way they used the studio as another instrument i.e. those sampled background noises with muffled pieces of conversation, the morse code sound at the end of ‘On The Box’, and beginning of ‘Tsunami’ (that means something?), or the noise created by a vinyl album being played at the start of ‘Mea Culpa’ initially bothered me. But I started to see how these things integrated with the rest of the sounds and now I don't find it distracting anymore.

I am very restrictive about which albums I rate with the full five stars, but “Contagion” has stood the test and deserves masterpiece status.

798

Six Degrees of Inner Turbulence 
Dream Theater

A review by UMUR:

The sixth studio album from Dream Theater “Six Degrees of Inner Turbulence” is a major piece of music. Spanning over two discs and over 95 minutes of music this one takes some time to swallow. The whole of disc 2 is one long epic which doesn´t help to make the challenge smaller. Dream Theater has always pushed the boundaries in prog rock/ Metal and continues to do so on this release.

The music has changed a bit since “Scenes From a Memory”, as the melodies don´t seem as strong as on that one. Given some time the melodies do become more memorable though. The album starts with the very heavy ‘The Glass Prison’ which is a favorite of mine on the album. John Petrucci really plays some nice intricate metal riffs on that one. Some insanely fast soloing is also done by Petrucci. The songs on disc 1 are generally very long but as usual when it comes to Dream Theater they never get boring. ‘Blind Faith’ and ‘Misunderstood’ are good Dream Theater songs but it´s with the fourth song on disc 1 that I get impressed. ‘The Great Debate’ has in addition to some great music also some clever lyrics about stem cell research and the different opinions about it. ‘Disappear’ is a mellow song that I personally find a bit boring, but I guess some people enjoy it and that justifies it´s inclusion here.

Disc 2 is as mentioned one long epic song called ‘Six Degrees of Inner Turbulence’. It´s a concept story but even though it´s one long song there are different sub-tracks. These tracks all segue into each other to make a whole. Personally I think this is a typical epic build from lots of small songs and I must admit I like the REAL epic songs better; those where you feel like the song was written in succession. I don´t find ‘Six Degrees of Inner Turbulence’ very exciting as a whole but some of the parts are really great. Most significant are the very heavy ‘War Inside My Head’ which might be the most heavy song ever by Dream Theater. I find that one crushing. ‘The Overture’ is competently composed though not to my preference in style and mood. Symphony X also released an album in 2002 called “The Odyssey” which has a much better Overture called ‘Part I: Odysseus Theme/ Overture’.

Dream Theater are all outstanding musicians and they prove it again on “Six Degrees of Inner Turbulence”. There are many fantastic instrumental parts throughout the album and they are played with great conviction. Once again I have to mention that I miss Kevin Moore´s more melodic and simple keyboard style as I feel Jordan Rudess uses many sounds that are experimental and not nice to my ears. There is no doubt that Jordan Rudess is a great musician but I´m just not that fond of his style.

The production is good even though I miss the old more clinical productions on “Images and Words” and “Awake”. The mix is much better than on “Scenes from a Memory” though.

All in all this is another excellent prog rock/ Metal album from Dream Theater and even though this is not one of my favourites from the band it´s still outstanding and unique. 4 stars from me and a warm recommendation.

A review by AtomicCrimsonRush:

Question: How do you follow up on a masterpiece such as “Scenes From a Memory”?

Answer: Present a heavier album that emphasises symphonic prog and insert a 42 minute song that takes up an entire CD.

The CD2 holds a multi-movement suite that moves from heavy to soft tones at intervals and blends in a series of songs to form one masterpiece. The 8 tracks blend seamlessly and Dream Theater often play this in its entirety in their live shows, and a good example is the version on the DVD “Score”. The wall of sound that Dream Theater create and the way in which it builds to a crescendo makes this epic track stand out as not only one of the greatest Dream Theater tracks of all time, but prog in general. ‘The Overture' begins majestically and then builds headlong into the crunching break neck speed of 'About to Crash'. The piece releases into a soothing acoustic blend with 'Solitary Shell' sung brilliantly with depth of feeling from La Brie. ‘The Grand Finale’ ends the track on a high note; all comes full circle and the story ends with that ray of hope and optimism that is akin to Dream Theater's tracks.

It is worth buying this CD for the epic alone, but there is so much more to this than some fans give credit.

CD1 begins with a bone crunching killer guitar riff in 'The Glass Prison' which is a 14 minute classic. The pace continues to build throughout and awesome guitar lead work permeates the track from Petrucci as well as Portnoy's relentless drum patterns.

'Blind Faith' settles into a driving rhythm that shifts into various time signatures. Not my favourite track but still has some merit for its musical virtuoso performances from the band. I love the vocal performance from LaBrie too, as always he really manages to belt out the lyrics with total conviction. 'Misunderstood' is the weaker track perhaps due to the monotony of the melody, though it has some interesting moments. 'The Great Debate' is a wonderful interplay of lead guitar and drumming as LaBrie sings about the deep matters of a contentious issue that we are all aware of, but what can be done? There are no answers supplied, only food of thought about the debatable topic that I won't go into here. Suffice it to say the music alone is worth a listen.

'Disappear' ends CD1 and for some reason has disappeared from my memory but I recall at least that it was a nice tune and featured some awesome bass and drums throughout. There was experimental work with the keyboards.

So there you have it. A much maligned piece from Dream Theater; at times moving and innovative with brilliant musical virtuosity, at other times not so inspired and a bit tame. However, there is no denying the work on CD2 is as about as good as it gets for Dream Theater. If you haven’t heard CD2 at least, you haven't heard the best of Dream Theater.

A review by Conor Fynes:

While both discs may be great, let me start by saying the second disc of this album (the side with the 'Six Degrees Of Inner Turbulence') is one of the best Progressive CDs I own. If considered as a single song, then it would be my favourite Dream Theater song of all time. The band uses the perfect blend of metal, rock, and prog to forge a really memorable epic, dealing with mental disorders (a common lyrical theme for Dream Theater). Musically, it's one of the most consistent (in terms of quality) discs I have, and it's been listened to a lot. The second disc alone would grant 'Six Degrees Of Inner Turbulence' a masterpiece ranking of it's own.

But there are two discs, right? So what about the first disc?

It's quite a treat as well. Mind you, not up to par with the second, but it's still great (at the very least, four stars) Although there are only two songs on the first disc I really love ('The Great Debate' and the ballad 'Disappear') all of the songs have merits of their own. From the heavy crowd-pleaser 'The Glass Prison' to the comparatively slow songs 'Blind Faith' and 'Misunderstood,' there's a good dose of greatness to be experienced here. 'Blind Faith' and 'Misunderstood' are usually paired in my mind as being similar, and while they're both good, they've never truly hit me as being outstanding. However, they hold songwriting over virtuosic prowess, which is always a plus in Dream Theater's case. 'The Great Debate' is one of my favourite Dream Theater songs, and deals with the controversial topic of stem cell research. It's a very Metallica-influenced song, but there’s a great deal of progressive nature in it. 'Disappear' is Dream Theater's most underrated song, and is arguably their most beautiful ballad, second only to the Kevin Moore piano tracks.

The second disc is where things really kick in. Despite a rather repetitive ‘Overture’, the rest of the tracks really compensate and flow together perfectly. Songs like 'About To Crash,' 'Goodnight Kiss' and 'Solitary Shell' consist as the highlights of the epic, although the entire thing is very enjoyable to listen to. The majority of it (besides 'War Inside My Head' and 'The Test That Stumped Them All') doesn't use metal, but instead uses a blend of the Dream Theater sound with progressive rock forging into a modern prog sound that should please most.

While “Six Degrees Of Inner Turbulence” may not match up to Dream Theater's best works such as “Images And Words” or “Scenes From A Memory”, it's still a fantastic album, and certainly worth the price of a double album. A very ambitious work, and a solid reminder that Dream Theater isn't exhausted of their creativity at this stage.

799

Ritual
Shaman / Shaaman

A review by Gatot:

My first impression is I like the ambient opening of ‘Ancient Winds’ which basically is an introduction of the band's music in orchestral arrangement. It's basically the feel of watching a movie, though it is very long. What follows is a blast of power metal music in style through ‘Here I Am’ where the vocal of Andre Matos is very powerful. He can easily handle high register notes brilliantly. Structurally, this is actually not a straight power metal track as it has many variations and styles. The foundation is power metal but the band has expanded the structure as well as style, combining beautiful high and low points.

The third track ‘Distant Thunder’ is much more captivating in a sense that the music is composed of the metal style, but the structure has some curved lines that make the song very dynamic, and so is "proggy". The poser of this song, in addition to dynamic style / structure, is the memorable basic melody delivered through the unique voice of Matos. I also enjoy the heavy guitar riffs that truly represent the power metal sub-genre. Excellent track!

‘For Tomorrow’ gives another flavour and texture of music through an inventive opening using traditional music (percussion and mandolin). The music then flows naturally with the clear and transparent voice of Andre Matos backed with powerful guitar riffs; another excellent track from the album especially for metalheads, in which case the song would make your nerves vibrate significantly.

‘Time Will Come’ rejects any opinion that metal music must start with heavy guitar riffs. It's not the case with this song as a soft piano touch kicks-off the song followed with full music in a metal vein, augmented wonderfully with orchestration. The musical interlude of this song gives a traditional taste followed with great guitar soloing. It's a stunning composition.

‘Over Your Head’ also starts mellow followed with heavy rhythms and then low register notes of Andre Matos vocal line, augmented with nice acoustic guitar fills. Structurally, this song offers many styles with an excellent melody. Again, Andre Matos delivers his high register notes. There is a musical interlude with a kind of traditional music (in my case, I associate this music with our traditional Reog Ponorogo). Excellent. This is definitely a prog tune to the bone!

‘Fairy Tale’ is a ballad that has become my all time favourite since I heard it the first time. Structurally the music was composed in a "circle", i.e. the song ends the same as it starts. What I mean here is that the melody of the song starts with the low register notes of Andre Matos under, " Fairy lady, who stands on the walls”, and it finishes with the same opening melody. The ballad flows brilliantly from an elegant female choir to melodic piano and Matos' melodic voice. It is not just the melody that is so powerful, I can also enjoy the great orchestral arrangement that follows the music of this great ballad; “Oh darling, hear my soul and heed my cry, Cause all my crying may flood an ocean and in my heart”.

The album title track ‘Ritual’ sounds initially like any metal music in medium tempo. There are some interesting segments in the song that sound memorable to my ears. The use of keyboard and orchestra has made this song enjoyable. The interlude part produces stunning guitar solos and orchestra. It's an excellent song.

Overall, this is a perfect album that you would expect from a power metal band with many prog touches during the stream of the music. My rating is devoted to the fact that this is a power metal band with powerful composition. No wonder this album is perfect because Sascha Paeth is the producer. Highly recommended for those who are hungry for power metal or progressive metal. 

800

The Mantle
Agalloch

A review by Conor Fynes:

Agalloch is one of the few bands that make music that can really move. Sure, there are plenty of bands that make pretty songs, but all too few can really transport you to another place, and make you feel exactly what the artist wants you to feel. Agalloch may be best listened to while walking alone through a snowy forest in the evening. While Agalloch may technically have black metal influences, it shouldn't scare people away, as there is so much more to be heard here.

Although I am a fan of some forms of black metal, it's never really been my thing. However, I can appreciate the objective that black metal aims towards: atmosphere. Classic black metal bands like Emperor never tried to astound audiences with technical-virtuoso playing and shredding; they instead aimed towards creating a haunting sonic atmosphere to give the listeners an emotional resonance. While Agalloch have more to do with folk music than anything else, the attention to atmosphere inherent to black metal is definitely heard here. There is almost no skill flaunting, and everything here would be in the reach of a guitar student's skill to play more or less. However, the way that the simple guitar work is played is beyond compare, and each flowing chord sounds perfect, bringing the listener to an even higher level of musical euphoria.

'The Mantle' is best described as beautifully depressing. There isn't very much of an optimistic sound to be heard, but more the music of someone that has potentially loved and lost all. These emotions manifest themselves as images of nature in it's purest form.

John Haughm is possibly my favourite lyricist of all time (along with Dani Filth and Daniel Gildenlow.) The lyrics are bleak and emotive without being overly melodramatic. The theme of nature is prevalent in the lyrics as well, which works to give definitive descriptions to the images the band's music tries to create. As a vocalist himself, Haughm definitely isn't a technically skilled singer, but that doesn't stop his voice from having a very large (and distinct) presence that compliments the instruments perfectly to the note.

On a personal level, this is music I can listen to when I'm feeling devastated or broken over something, and somehow feel better; simply because I have proof that I am not alone in feeling these emotions. It would be absolutely impossible to write a work like 'The Mantle' without a large amount of sentimental dedication. Through their pure sincerity of voice and perspective, Agalloch has created a beautiful work here, and is something that is yet unparalleled for it's style.

801

El Cielo
Dredg

A review by Conor Fynes:

What we have here is one of the most beautiful, moving albums made in the new millennium. There seem to be a lot of people who think that in order to be progressive, you must relinquish some of your emotional impact to be innovative and original. Someone should shut those people up, and make them listen to “El Cielo”.

For 57 blissful minutes, the listener is taken on a brilliant musical journey concerning the medical condition known as sleep paralysis, and the power of dreams. Much of the lyrical content in “El Cielo” revolves around testimonials and anecdotes of individuals that have either suffered or been enlightened by their reveries. Keeping this in mind, Dredg beautifully weave a spectrum of emotions into the musical framework, going from feelings of devotion ('A Walk In The Park') to fear ('18 People Live In Harmony') to melancholy (the most prominent feeling in the album.)

There is such a musical integrity to this album. Despite having a very alternative-rock sound, there's a lot of progressive happenings throughout the album, and a lot of styles being thrown around. There are parts reminiscent of a mellow Maudlin Of The Well, the atmospherics and dramatic buildups of Explosions In The Sky, the jazz breakdowns of The Mars Volta, and a lot of something that can only be described as being trademark of Dredg themselves.

A total emotional masterpiece, and one of the greatest modern progressive albums of all time.

802

Celestial Entrance 
Pagan's Mind

A review by Mellotron Storm:

Pagan Mind are picking up where fellow Norwegians Conception left off. This borders on Power-Metal at times but really this is heavy, melodic and powerful Prog-Metal. The singer Nils K Rue is unbelievable, with a great range and his voice is easy on the ears. What a talent! Twin lead guitarists here although sadly Thorstein Aaby passed away at 35 years of age after a lengthy illness back in 2007. The synths are excellent and often in the background. I have to mention how good this album sounds as the production and sound quality are perfect. This is partly a concept album inspired by the theories of Erich Von Daniken.

‘Approaching’ opens the album with lots of cool sounding atmosphere. Here we go 1 1/2 minutes in as a killer soundscape comes crashing in. It blends into ‘Through Osiris Eyes’ which is very crunchy with synths as vocals come in for the first time. His vocals border on growls at times as he spits out the words in anger. Mostly though they are simply strong and powerful. Check out the guitar solo after 3 minutes. This is one of my top 3 tracks and maybe the best track on here. Incredible!

"Entrance: Stargate" opens with fast paced riffs before it settles with synths and some deep bass, then vocals before a minute. Heaviness comes and goes. What a great singer this guy is! Themes are repeated and I like the calm 4 minutes in, and it ends with some intensity.

‘...Of Epic Questions’ opens with synths as the heaviness arrives and the tempo picks up. Very heavy sound before the vocals come in. Deep spoken words come and go on this one. Double bass drumming is all over this tune and keyboard flurries after 3 1/2 minutes. The vocal melodies that come and go are so good.

‘Dimensions Of Fire’ is heavy duty to start out but it settles when the vocals come in. The contrast continues throughout. This is so uplifting at times but some evil sounding vocals followed by double bass drumming are heard after 4 1/2 minutes. Nice guitar solo follows then synths and it ends as it began.

‘Dreamscape Lucidity’ builds quickly and the double bass drumming sounds like a stampede, then a guitar melody comes in. Vocals are next in this uptempo barn-burner. Love his vocals. Check him out 4 1/2 minutes in especially. The tempo continues to shift in this fantastic tune!

‘The Seven Sacred Promises’ is another top 3 track for me, mainly because this song really reminds me of Fates Warning, especially the guitar that grinds away like Jim Matheos. What a feel good song this is. Some thunder 3 minutes in with a ripping guitar solo to follow.

‘Back To the Miracle Of Childhood’ is a two part instrumental that is my fourth favourite track. Simply gorgeous acoustic guitar to open, then electric guitar comes in after a minute with drums as it builds to a great sound! Some riffs late which continue into part two. The second part is over 9 minutes of heavy and light instrumental work with synths as well.

‘In Brilliant White Light’ is a ballad-like tune with piano, synths and almost spoken vocals. ‘Aegean Shores’ is a good uptempo track with heavy drums. Check out the guitar after 3 minutes followed by a synth solo on this uplifting track.

‘The Prophesy Of Pleiades’ is the other top 3 song for me, so, yes, it ends in style. Experimental and spacey intro gives way to heavy and slow riffs a minute in. Vocals a minute later, that will eventually soar after 3 minutes. The heaviness comes and goes and themes are repeated. Love the background synths too. If you like heavy and melodic Prog-Metal this is essential.

803

The Sham Mirrors
Arcturus

A review by Conor Fynes:

With another album, there are new developments for the avant-garde metal act known as Arcturus. This now-legendary band is something of a Norwegian black metal supergroup, with members collaborating here from, among others; Ulver, Dimmu Borgir, Mayhem, and Emperor. What comes as a surprise is that despite these musicians' background, the music here is not black metal, but rather a highly theatrical brand of progressive metal. “La Masquerade Infernale” first planted Arcturus' flag in the sand, taking the dreary atmosphere of black metal and channelling it through what may have been described as astral circus metal. “The Sham Mirrors” sees this project continue down the avant-garde path, but this time around, things are a little lighter, melodic, and, dare I say, accessible. No matter, in many ways, Arcturus have improved this time around, creating yet another excellent and memorable landmark of avant-metal.

My memories of “La Masquerade Infernale” focus largely on the diabolical atmosphere that the music created. While it was far from being black metal in nature, the vibe that came across was not unlike something a frostbitten black metal band would convey. Garm's brooding voice was subtle and disturbing, and there were plenty of tritones for the devil worshipers to dive into. As is even evident from the album artwork, “The Sham Mirrors” is a departure from the darkness, in favour of something a little more melodic. The riffs are faster and more harmonious, and Garm's vocal performance has been swept up from the gloomy bass into a higher-register, theatrical wail that I.C.S Vortex first introduced to the band with his memorable vocal performance on “The Chaos Path”.

All of these changes are best represented on the album's opener, 'Kinetic', which is incidentally the greatest thing that the album offers. 'Kinetic' opens up with fast paced chords and a steady build, with ambient vocalizations, programmed drum beats, and an array of 'sci fi' electronic noises. While Garm did not impress me a great deal on “La Masquerade Infernale”, his voice blows me away this time around. It is as if his voice has been let off its chain, and is now allowed to traverse the depths of his range, which is quite impressive. It is a disappointment that there is nothing else quite as astonishing as 'Kinetic' on the rest of the album, because it is one of the greatest progressive metal songs I have ever heard.

Arcturus may have made their sound more melodic, but it is still very forward thinking and weird. There is a symphonic element brought in via the keyboards, making Arcturus sound like an avant-garde incarnation of Dimmu Borgir, at times. The songwriting has plenty of hooks, but it rarely relies on a chorus structure. However, most of the experimentalism is brought on through the way the music is performed and executed. Garm's vocals are intense and dramatic, as if he was performing in an opera. The dense electronic ambiance also gives the music a coat of production that makes it sound weirder than it would otherwise. The production can get ambitious past its means at times, although the amount of work that's been put into fleshing out the sound is acknowledged and evident in the music. The one musician here who doesn't seem to get a chance to exploit his full talent is drummer Hellhammer, whose normally inhuman grasp of the double-kick and blast beat is muffled and drowned by the dense production, not to mention the thick presence of programmed beats in the album.

“The Sham Mirrors” is another challenging album from Arcturus, although it is nowhere near as shocking as “La Masquerade Infernale” was for me. This is arguably the best thing that Arcturus has released in any case, and it is a shame they stopped making music together at the peak of their work. As it is with many avant albums I come across, there are aspects of this album that don't sit totally right with me, but these are easy to overlook in the face of the resounding strengths the album boasts. An excellent, inventive album.

804

A Nod And A Wink
Camel

A review by SouthsideoftheSky:

A nod towards Jethro Tull and a wink towards Genesis.

“A Nod And A Wink” is, in my opinion, preferable over the previous “Rajaz” album in almost every respect. These two albums are like night and day, and if we allow ourselves to take the metaphor seriously, then “Rajaz” is the night and “A Nod And A Wink” the day. The respective sound and feeling of the two albums are very different indeed, with “A Nod And A Wink” having a much "warmer" and "lighter" sound and also being less serious, less mellow and a bit more "whimsical" in a (mostly) good way.

While there were almost no flutes on “Rajaz”, there are a lot of them here. And the flutes are played in a variety of different styles, one of which is a nod towards Ian Anderson of Jethro Tull. The drums are also much more elaborate and, most importantly, they feel more alive compared to the somewhat sterile drums on “Rajaz”. The keyboards are much more varied here and the use of organ is part of what gives this album its "warmer" sound compared to the somewhat "cold" “Rajaz”. There are sparkling keyboard solos here, something that was quite rare on “Rajaz”. The vocals are also more varied and Andy sings in different styles and moods (even British dialects!) similar to what Peter Gabriel did on the early Genesis albums. Further, there are more background vocals on this one, also contributing to the warmer sound. The electric guitar work that was excellent on “Rajaz”, is just as good here. Overall, “A Nod And A Wink” feels more like a band effort than an Andy Latimer studio project.

I complained about “Rajaz” that it felt predictable. Not so here. There are several unexpected changes in the music here which I feel is essential in progressive Rock. I also said about “Rajaz” that there were too few fast paced passages. Not so here. There are softer and mellower parts as well as rockier parts. The influences here are much wider as well, with the Folk influence once again being present in Camel's music.

The compositions here are not at all as strong, though, as the ones from the brilliant “Harbour Of Tears” and “Dust And Dreams” albums and “A Nod And A Wink” does not hold together as well as those two brilliant concept albums. But being less good than those masterpieces is not really criticism! “A Nod And A Wink” is still a great album!

If you want to explore 90's/2000's Camel (which you should, it's great!), I would recommend you to start with “Harbour Of Tears” and then “Dust And Dreams” and after that you should get “A Nod And A Wink” and last “Rajaz”.

Perhaps not among Camel's very best this one, but still an excellent addition to your Camel collection

A review by Gatot:

Dedicated to Peter Bardens (1945 - 2002).

That's basically what Andy Latimer wrote on 27th June 2002 for the sleeve note of this album. It has been 30 years that Camel had been in the music industry with many personnel changes; only Andy Latimer remains in the band. This is similar with King Crimson where Robert Fripp has been the only constant member of the band. Camel was recognized and respected as the band with excellent compositions combining mellow to medium tempo kind of music. While King Crimson has evolved their music that started with their "Discipline" album, Camel's music has been generally the same in style from its debut album until this album's release. "A Nod and A Wink" commemorates Camel's 30 years of existence in progressive music. Through this album, Collin Bass, the bass player during the early years of Camel, returned back to the band.

Looking at the artwork, it clicked with me to a novel by Paulo Coelho titled "The Alchemist", especially the shadow of a child (like the shepherd in that novel) and a horse, plus night time nuances. The opening track ‘A Nod and A Wink’ gives a clear picture about the situation, lyrical-wise. It starts beautifully with ambient sounds depicting a night situation followed wonderfully by flute work by Andy Latimer. The flute and its accompanying acoustic setting make the intro of the song truly attractive for those especially who love symphonic or neo progressive music. The song moves beautifully with low to medium register notes singing style, starting with "Goodnight, Tired little eyes, Time to climb the wooden hill", and followed with stunning guitar solo ala Andy Latimer. It's truly an excellent opening track.

The second track ‘Simple Pleasures’ enters beautifully just after the first track ends. The basic rhythm section comprises bass guitar, keyboards, drums and a simple percussion (a tom sound) that falls at the end of the signature and it enriches the song. Latimer sings with the static sound of percussion and some guitar fills in addition to the rhythm section. What's so interesting is when Latimer finishes his first lyrical verse, the music is followed with a relatively long guitar solo in the vein of David Gilmour of Pink Floyd, but with Latimer's own style. Wow! I really love this track, it's so enjoyable and relaxing, really!

‘A Boy's Life’ again has a title that reminds me of "The Alchemist" novel, and starts with acoustic guitar fills accompanying Latimer's singing, "I try to see through your eyes" in relatively flat melody with low register voice notes. Right after the first lyrical verse completes, the music moves with music interlude and at approx 2'38" it provides a break demonstrating acoustic guitar fills and soft keyboard work which is really nice. Latimer also provides howling guitar at approx 4'20 which then brings the music into full blast where electric guitar takes over in a nice solo. It's really pleasurable and I enjoy this song. I am really glad that Camel is still consistent in delivering excellent compositions. Until now I have been listening to three excellent songs and let's continue the journey to the fourth track, ‘Fox Hill’.

It opens in an uplifting mood with relatively medium to fast tempo, at least it's faster than the previous three tracks. Latimer sings in higher register notes and Collin starts to demonstrate his great basslines at 1'20. At approx 1'40 the music provides a nice break with different music styles where the piano provides an accentuated rhythm section (like Supertramp's music) and Latimer sings differently. His singing style this time reminds me of that of The Sensational Alex Harvey Band. After that, the guitar solo moves forward dynamically intertwined by the keyboards of Guy LeBlanc. Denis Clemet on drums is also given a chance to do a solo at approx 5'02. Even though this song lacks a catchy melody, the style changes are really excellent and it makes me enjoy this album further.

‘The Miller's Tale’ starts with ambient bird sounds followed beautifully by acoustic guitar fills and then a soft keyboard solo. "And the two friends went home" sings Latimer to start the first verse. The background keyboard sound makes a vintage sound layered by great acoustic guitar work. At approx 1'56 the song moves into a nice interlude which brings the listener to something like a movie soundtrack.

‘Squigely Fair’ starts with uplifting mood music led by a guitar solo in a relatively long period until 1'56 when flute takes over the role, and it moves into nice breaks with Collin Bass’ tight basslines. Flute makes the song very enjoyable, especially when it starts at 2'56 where the sound is as interesting as Ian Anderson's flute work.

‘For Today’ concludes the album beautifully with a very nice piano solo in a mellow mood. When Latimer starts to sing, the piano work is replaced by acoustic guitar rhythm. At 2'20 Latimer gives a great manoeuvre of his guitar with Floydian style, and backed by long sustain keyboard work at the back. The guitar solo is really stunning.

Overall, this is an excellent addition to any prog music collection.

2003

815

Choirs Of The Eye
Kayo Dot

A review by Finnforest:

Like the sound you hear before the plane crashes. Like floating through a dark thunderstorm cloud, or surfing waves of grey ash. Pure hell. Pure beauty. I've read reviews calling this noisy, aimless drudgery. I've read reviews calling it absolutely sonic beauty. Yes. And Yes.

"Choirs of the Eye" is an album to experience after years of more conventional listening when you really crave something unique and different. The next step of Toby Driver's evolution (after Maudlin of the Well) Kayo is so many things and must be allowed many plays over a period of months to be absorbed properly. It will require patience and perseverance for some. It is at times harsh, abrasive, obnoxious, and disturbing. Other times it is distant, calm, and meditative. I need to be in a certain mood to enjoy listening to it but when I am, it is exhilarating.

‘Marathon’ begins with something that sounds more like avant space rock than metal with our grey ambient landscape being laid out before us. Occasionally we are hit with the sound sledge hammer, the wall of distorted guitars and other instruments which Driver uses with complete effectiveness. This song is almost preparation work for the journey that will soon follow. The majority of the track is calming as he tries to get you to open your mind and really listen, though the threat of the aural violence is never far away. Electronics and spoken words augment the hypnotic cloud and by the end you are ready for the roller coaster to follow.

‘A Pitcher of Summer’ is the shortest track and begins just like an old Cat Power song with a fragile lilting vocal against clean guitar in search of a melody. The bus eventually hits us as we're crushed by the big guitars and brass and the vocal builds to a desperate end scream.

‘The Manifold Curiosity’ is layered electric guitars that see-saw back and forth in conversation with a clarinet in the lovely first section. Then an acoustic begins strumming with mumbled vocals and spacey electronics in the background. It builds until the perfect moment when a hint of feedback signals the wave crashing down again into a wall of distortion. Eventually you can hear the Sax trying to swim through the rough waters. And all of this in just the first half!

The second half begins with moody guitar that recalls Durutti Column. Strange spoken word voices come in along with gorgeous violin floating to the fore. Finally all succumb again to a most furious climax.

‘Wayfarer’ presents gentle acoustic guitar and strings that begin to pull you under the water until Driver's naked falsetto begins around 2 minutes in. Around 4 minutes there is a crescendo and things get very chaotic and loud briefly. It ends as it began with the simple acoustic.

‘The Antique’ has discordant alien guitar chords strummed casually for a few minutes until bass and drums step in. Slowly the chords begin to find form as they crawl out of the shadows and gain power. Growls and screams are the soundtrack of a nightmare. Finally a guitar solo tries and fails to cut through. Then, near the 10 minute mark the clouds part and the sun (piano) breaks through. A stoic trumpet appears. Fragile, unpleasant vocalizations lead to a rather unremarkable ending. This track and TMC are the two masterpiece songs and together they encompass more than half the album.

Love or hate Driver's vision, "Choirs" is another triumph for the adventurous listener. Just don't judge this album until you've spun it at least a dozen times in different situations. It requires thought and consideration. It is not entertainment fluff to bob your head to’ it is music that wants to challenge you and change your perceptions.

A review by AtomicCrimsonRush:

An exploration of psych prog, Avant metal and deconstructed space rock; a ferocious species that cannot be easily captured.

I first encountered this strange beast on a hunting expedition for new prog and once I caught and shot the creature I was at the mercy of this entirely new species. A mixture of aggressive thrashing guitars and ambient atmospherics, you are never quite sure where you are placed with this music. This excursion into psychedelic post metal is ear opening and at times alarmingly beautiful with textures of dark and light.

'Marathon' is a wonderful blend of beauty meets the beast; beauty in the flute playing and beast as in the growling contorted vocals and distorted guitar crashes. At 3:40 there is a freakout of piano grunge guitars, sporadic drumming and woodwind; it is totally and gloriously chaotic. It settles into a weird time sig and guitars ringing out as a chiming sound takes over creating ambient shades. The guitar nuances are compelling on the instrumental passage though it threatens to roar at any moment. The beast is quietened with subtle drumming and soft keyboard bells and guitar embellishments. The atmosphere is peaceful but still has a dark quality for some time. There are some contorted sounds that are disturbing, overlayed in the musicscape. Then a very dull voice speaks some poetic reflections about a woman; "her eyelashes weaken ... and this feels like frogs and spiders in the sweet outside... unfathomable and good, the beauty of everything is cruel... an airplane.. a spoon, the stars and the moon." This is quite a disconcerting track but a great intro to the band's experimental style.

'A Pitcher of Summer' begins quiet and patient with a guitar gently swaying in the breeze. There is no time sig as the vocals come in falsetto style. There are long gaps and odd time changes making it difficult to grasp the melody. Yet there is no ad libbing; this is carefully constructed or rather deconstructed in timed complexity. The music builds to a heavy distortion and some wailing singing. It builds and then falls to silence and cascading sounds of guitar before another cataclysm of distortion drowns out the ambience. The scream of pain at the end is suddenly mercifully cut off.

'The Manifold Curiosity' is the epic of the album and my first Kayo Dot song, after much recommendation from KD listeners. The build up with sonic distortion is brutal. There are some rasping vocals and very grungy guitars, a dirty sound that reverbs like Sunn O))) guitars tuned down to A. The freezing atmospheres are backed by chilling keyboard sounds. At times the lights in the room seem to flicker with the intensity of the music. There are massive passages of instrumental prowess, and these are balanced by short outbursts of distorted vocals phased through a vocoder or effects mixer. The clarinet battles it out with the guitar flourishes, a lonely sax fights its way through the thick fog of electronics and keyboards; this will take you to another realm of music.

'Wayfarer' begins with sad melancholy guitar and violin, the very quiet vocals accompany the sounds with heartfelt emotion. The violins are rather eerie, reminding me of VDGG, Comus or Maudlin of the Well, the band that morphed into Kayo Dot. Violin can be rather screechy if misused but the shimmering notes played here are building unrelenting tension. This tension overflows at 4:14 when the drums come in on a steady beat and a space guitar riff, it builds with ascending violin shrieks and then the time sig is completely changed without warning to a slow droning distorted guitar and very off kilter vocals. The layered music is slowed to an extreme crawl at 5:50 and then silence before a pleasant sounding guitar picks a motif over sustained keyboard pads. The beast becomes dreamy though the threat of violent chaos is prevalent. It feels too comfortable for a time, and you may wonder when the metal will return. The music keeps you on edge and you tend to hang onto every note, waiting for new directions of sound. The violin is louder until the metal guitars crunch in on the climax and a huge lead riff well executed until it just stops and we are back to silence. The haunting vocals are there in the shadows with lurking violins sliced quickly till they cease and the minimalism of guitar and vocals return. Of note is the method in the way Kayo Dot are able to fill songs with silence that are so well juxtaposed, the pauses become an instrument in themselves.

'The Antique' is a heavy exploration of dark aggression and white sonic noise. It begins very slowly with minimalist guitar and many rests and pauses building a sense of dread. I turned the sound down in case it was going to erupt into violence. The music has me on edge after all the chaos of RIO/Avant Prog. It continues painfully quiet for some time but there is an unnerving uneasy atmosphere and then some distortion slowly creeps along like a stalking monster ready to pounce. Some wretched vocals scream along inaudible lyrics to slow metal chords that have no framework and play sporadically. The darkness of the atmosphere is akin to horror, augmented by piano runs and screaming guitar solos with off kilter drum signatures. There is no pattern to the music as it builds to a thrash style, but without a repetitive riff. The whole thing builds climactically and drops to tranquillity as if the monster is asleep and the piano is gently caressing it's hide. The soft vocals are sung too close to the microphone warping them into inaudible moans and falsetto sounds like a flugel horn.

The album ends on a sombre note, quiet and displaced, hypnotically impotent vocals and raw guitars drift off and close the eyes of the album not with a bang but a whimper. Perhaps it was the only direction to take after so much innovation. The sun goes down ready for a new day; a return to the beginning when the beast will wake from its slumber. Adventurous, bold, inventive and complex; it is impossible to pin this music down to one genre though Avant space rock may be close. I was not as overwhelmed as Maudlin of the Well, it is too bleak or dark at times for my tastes, but Kayo Dot are still a force to be reckoned with and demand attention as one of the most ferociously original bands in years.

A review by Conor Fynes:

For one reason or another, multi-instrumentalist and composer Toby Driver's flagship band Maudlin of the Well fell apart, and from its ashes came its new incarnation, Kayo Dot. Although many of Maudlin of the Well's familiar quirks translated onto this new name, there was a decided change in the sound; a move towards a more experimental and avant-garde sound. To me, Maudlin of the Well's sound was very curious and dreamy, like a nostalgic childhood summer. Of course, childhood does not last forever, and enter Kayo Dot, leading Toby Driver's music out of the proverbial childhood nostalgia and into a much darker and challenging adolescence, one that is much more ambiguous and even frightening. Kayo Dot's first album “Choirs Of The Eye” therefore is something of a transition album for Toby Driver and company, featuring elements of both the carefree innocence of his earlier band, and the Avant darkness of his future material with Kayo Dot. The result is a multi-faceted album that may very well be Driver's greatest achievement, but one of my favourite progressive albums ever.

Unlike Maudlin of the Well - which featured comparatively accessible songwriting and a clear sense of direction - Kayo Dot's “Choirs Of The Eye” changes the approach, leading to many moments that could feel aimless to someone who is not paying close attention to the ever-changing textures and build up. While some have described this album as post-metal, the majority of “Choirs Of The Eye” relies on quietness rather than heaviness to get the mood across. This is an album which hits that sweet spot between variety and cohesion. There is a dreamy, otherwordly vibe to all of the music here, but the tone and dynamic is always changing. Each track encapsulates a variety of emotions. For example, the closing number 'The Antique' goes from crushingly heavy, sludgy metal to jazzy piano and muffled vocals that could have easily been plucked out of a Radiohead album. There are plenty of surprises here, and until the very end, like some sort of quiet, intellectual action movie, the listener is kept on their toes.

These compositions do not have the same cohesive feeling to them that Maudlin of the Well's music had, so really besides the potential single 'A Pitcher Of Summer', these will not be tracks that get stuck in your head. Instead, you will probably find yourself getting hooked onto certain parts of each song, and it will only be after many intent listens where a listener is able to predict each of the twists and turns in this masterpiece. “Choirs Of The Eye” can get very heavy, but these spurts of metal are usually only momentary; much of the album instead leans towards mellow tones and textures; perhaps I may use the term 'avant-post rock'? The guitars are filled with echoes and reverb to rattle around in the listener's head, but the joys of the performance here are really about the non-typical instrumentation.

Above all, violinist Mia Matsumiya's performance here is jaw-dropping, taking any violin arrangement and making the strings sing with beauty. Another fairly strange aspect of Kayo Dot's sound is Toby Driver's voice, specifically his wide range of styles that he employs. Throughout the album, a listener will hear him go from mellow, mid-register singing, spoken word poetry, and soft falsetto, to choatic howls and screams. Often, all of this will be heard within the course of one song. In his work with Maudlin of the Well, I was unsure whether or not I considered him to be a good or bad singer, but Kayo Dot has set me straight on the matter; although his voice does not have a great technical skill to it, he is able to express himself with great diversity, and pulls off most of what he tries quite impressively.

“Choirs Of The Eye” is one of those albums that listeners will take a lot of time to wrap their heads around, although some of those coming off of a Maudlin of the Well binge may be initially put off by the change in pace and style. After giving this many nights of engaged listening and awe, I could safely say that “Choirs Of The Eye” is the most impressive, exciting thing that Toby Driver and co. have done to date; a sweeping epic that soothes, excites, and challenges. A masterpiece.

816

De-loused in the Comatorium
The Mars Volta

A review by Sean Trane:

Although I had heard fairly soon of this band's debut (like almost everyone I heard mainstream rock medium speaking about prog in a different tone for the first time in decades), I had to wait for the second album's release to get a shot at listening to this album. So after being repulsed by their second album, I decided to give their first one a shot, hoping it would hold more clues to dig the band. The least we can say is that TMV does bring something a bit different to the usual prog mainstream, but it is not easy to pinpoint exactly what they bring. One can't say that their sound is brand new: they borrow quite a bit from many previous groups, but surely manage their own sound and even a bit of originality, something rather difficult in an era where everything's been done 1000 times before (or almost), but this is done at the expense of a sort on continuity, their music being extremely eclectic.

What TMV does in this first album is mix influences from Yes, King Crimson, Rush with more modern groups like Porcupine Tree's impenetrability, Spock's Beard's extreme wide spectrum and excellent execution of the music and a touch of Radiohead's paranoiac emotive mental states fuelled by Yorke's frustration ulcers while keeping a 90's funk- punk energy that is obviously induced by the Red Hot Chili Peppers. Yes, this makes TMV's music rather abstract and the fact that this is yet another concept album on mental derivations, deviations and the accompanying stages of anguish, anxiety, depression, alienation and finally complete recess from reality leading to suicide (well coma before a second more successful attempt) is not fundamentally convincing. Yet there are many good if not excellent traits to this album and this debut is possibly one of those rare albums that should be held as truly inventive and influential in its decade. Another rather discouraging hint is the Rick Rubin (I am NOT a fan) production slapped on the back of the album, but all these "ifs, buts, how and since" do not manage to hide the intrinsic qualities of this debut.

While there are some tracks that are relatively hard to digest because of their voluntarily noisy and energetic quagmire: ‘Inertiatic ESP’ and ‘Apparatus’ (hate the vocal effect) being the two loudest tracks on the album and for no apparent good reasons except to show that the band can reach such levels of intensity, but fortunately those tracks are among the shortest (the separate intros excepted) on the album. But there are some much more convincing tracks like the concept's centrepiece ‘Cicatriz’ - where the "hero" comes out of the coma - (and its psyched-out lengthy guitar passage), ‘Roulette Dares’ (and its wild middle instrumental sections), ‘Drunkship Of Lanterns’ (difficult start, but smooths out nicely), ‘Eriatarka’, the calmer ‘Televators’ and the sometimes brilliant finale ‘Cerpin Taxt’.

Among the features of the group is the bass/drum combo, which can sound like Bruford/Levin but also like RHCP's wild rhythm section. Omar's guitar work is maybe less prominent than on TMV's follow-up but remains very noticeable, while the unsung hero is definitely Isaiah Owens, very subtle yet defining much of their sound and often underlining the ultra-powerful passages with delicate layers of synths. The fact that the album's story is really closely related to a member of the group not only push the group beyond their reasonable limits and boosts the loudness a bit excessively, but in their case, they come out of it successfully. By the time you reach the album, there will be a sense of saturation and tiredness, because some of their typical twists come back a little too regularly.

Although this album requires all the respect from every proghead, it will probably be always a controversial album, because of its flaws and "baroque" leanings on almost every sphere of music. While there are some albums that pride themselves of not letting you win them too easily, on the other hand there are countless modern prog albums who hide their lack of depth with obscure unexplained concepts and difficult music and impenetrable presentation. But I am rather sure that this is not the case with TMV. I think that at least everyone should spin this album once or twice a day for a week before eventually rejecting it (Cedric's voice is an acquired taste), because it does take a few listens to surrender its secrets, but unlike many of its actual competition, it does so fairly quickly. Maybe because it has enough depth to allow it

A review by AtomicCrimsonRush:

One of the most determinedly original heavy prog bands of the new millennium.

The Mars Volta blazed onto the scene with this incredible debut album that was unlike anything we had ever heard, borrowing elements from free form jazz, to heavy riffing and psychedelia, every track becomes part of the whole. The conceptual framework is based on the heavy sense of alienation and loss of sanity.

The intro, ‘Son et Lumiere’, is a rather hypnotic guitar motif that introduces the next track. ‘Inertiatic ESP’ includes the repetitive vocals, "Now I'm lost..." over fast guitar work and raucous off kilter drum patterns. The lead instrumental section is strange and frenetic and became a signature trademark of the band's inimitable style.

‘Roulette Dares (The Haunt of)’ is a lengthy track that twists and turns in a myriad of musical directions. The vocal performance of Cedric Bixler-Zavala is monotone and estranged, at times sounding like Led Zeppelin or Muse, and hard to pin down in sections. There is a complexity of musical styles underlying each track that rises and falls in crescendos. The lyrics are non sensical but become part of the performance as we hear of 'exoskeletal judges at the railroad...' whatever it means, it becomes an extension of the soundscape.

‘Drunkship of Lanterns’ is a highlight with the abrupt guitar riffs of Omar Rodriguez-Lopez and quirky jazz drums and metrical patterns of Jon Theodore that would send any metronome into overdrive. At times the pace is chaotic and this is balanced with moments of quiet beauty. "Is anybody there, nobody's hurt" Bixler-Zavala wails in desperation. The invigorating display of group dynamics is evident on the excellent ‘Eriatarka’, with an interplay of guitar and bass and unexpected elements of jazz fusion thrown in the mix. It begins with bird calls and ends on a long sombre note.

‘Cicatriz ESP’ is the killer 12 minute mini epic that begins on one riff and ends on another, frenetic and immersed in clanging guitars and bass. The surging keyboards add to the effect of guitar heavy sounds feeling at times like free rock improv.

‘Televators’ is another highlight and a softer track than the others almost entirely acoustic. This prepares us for the intensity of ‘Take the Veil Cerpin Taxt’. The sound is very unfriendly at times and not for all tastes but it’s a wash of heavy guitars and screaming vocals with many abrupt stop and starts in the music. The electric modalities are undisputably progressive and there are virtuosic leaps of guitar mastery that express the chaotic atmosphere. It all becomes isolated in a drone towards the end

The conclusion is this is a debut album any progger would be proud of. It set the scene for great things to come with “Frances The Mute”, the best of the band, and the excellent “Amputechture”. The Mars Volta should not be ignored and this would appeal to anyone who love their prog unusual and heavy and laced with lashings of the psychedelic.

A review by Bonnek:

21st Century Schizoid Prog.

Overwhelming, excessive, nerve-shattering, unique, emotive, innovative, original, boundary-breaking, progressive. This might well be the first album since the early 70's that corresponds to every possible definition of what progressive rock is about. And the best thing of all is that it reached far beyond usual prog audiences. Together with Porcupine Tree this is a band that makes you proud to be a prog-rock fan.

The music is so tremendous that I kind of feel out of place to analyze everything that is going on here. What this music demonstrates is an experience of totally free musical expression that is nevertheless wrought into something consistent and catchy.

Much like King Crimson's and Yes's early albums you have the feeling this band takes you on a rollercoaster ride through musical fairyland, taking you just anywhere they want. Yet, with attractive melodies and strong compositions, they always bring you back on your feet in the nicest possible way. Even though you might be left slightly dizzy from the experience you're quite sure it was the most exciting trip throughout.

This album is every bit as defining and excellent as “In the Court of the Crimson King”, “Foxtrot”, “Close to the Edge” and “Dark Side of The Moon” were 30 years earlier. And it looks like Mars Volta are equally successful commercially. Well deserved. Pure bliss.

817

Together We're Stranger
No-Man

A review by Bonnek:

No-man's music has always intrigued and appealed to me, but the Wilson - Bowness tandem had never entirely convinced me. I always had some kind of issue with the poppy nature of the music or Bowness' vocals. Also their 5th album “Together We're Stranger” did not entirely engage me at first. The slowly meandering atmosphere did take a lot of time to leave its mark on me, but ever since it did, I've been truly astounded by this album.

None of the previous No-man albums had prepared me for this one. Wilson stripped the arrangement to the bones, only leaving minimalist sketches of slowly flowing ambient guitars and keyboard sounds. It makes for a sombre, moving and very poetic album detailing the break-up of relationships and other hardship. Bowness delivers some of his best vocals ever here. Very quiet and subdued, almost hesitant, but evoking a feeling of fragility and truthfulness.

The slowness and bare approach of the album might put off many listeners, spoilt as we all are by very busy and action-packed music. This is a typical example of an album that takes a while to sink in and I wouldn't recommend it if you are into harsh metal, busy Prog or hot techno right now. That's where I was when I first heard it and it didn't really register then. But if you feel you're ready to be overwhelmed by slow and delicate melancholic mood music, then this is the album you need.

Slow, sad and sometimes almost lethargic, this will register as boring to some, but as fascinatingly beautiful to others. This is an album to listen to when you cannot be diverted by any distractions, so wait until dark and put on those headphones, or surrounded yourself by the lush 5.1 mix.

A review by Mellotron Storm:

It took me a long time (too long) for me to appreciate this album. It was hard to get past how slow moving and ambient it is. The atmosphere is so thick, and the lyrics so well done that when I  finally came around I  was left in awe of what they've done.

The title track has so much atmosphere as Tim sings slowly. ‘All The Blue Changes’ has a little more life instrumentally but not vocally. Incredible sound 3 1/2 minutes in that doesn't start to let up until around the 6 minute mark. ‘The City In A Hundred Ways’ is a short track with horns and again lots of atmosphere. It blends into ‘Things I Want To Tell You’. Acoustic guitar comes in and then the vocals. So much spacey atmosphere here as well.

‘Photographs In Black And White’ opens with strummed guitar and spacey sounds as vocals come in, with emotional lyrics. And talking about emotion check out my favourite track ‘Back When You Were Beautiful’. It's cool that Stephen Bennett is playing organ on this one. He is an important part of the Henry Fool band that Tim Bowness sings on. ‘The Break-Up For Real’ could be on a Porcupine Tree album. Strummed guitar and vocals lead the way, Steven's backup vocals are great and the piano is a nice touch too. Again the lyrics are moving.

A solid 4 stars and no doubt one of their best yet.

Review update: 10/29/10 Wow it's been over 4 years since I  reviewed this album. I originally gave it 3 stars but bumped it up to 4 stars and here I  am giving it the full blown 5 stars! It's almost shocking how much atmosphere is on this disc. It overwhelms me and the emotion is right at the surface when listening to this album; wondrous, simply wondrous.

818

Out Of Myself
Riverside

A review by UMUR:

I have already reviewed “Second Life Syndrome” and “Rapid Eye Movement” from Riverside so very unlike the way I usually review a bands discography I have done it backwards. It doesn´t matter much in the case of Riverside as all three of their albums are very similar in sound and style. This doesn´t mean that there hasn´t been a development in their style, it´s just not that significant. It doesn´t matter to me though as I think of all their albums as excellent pieces of prog rock with metal tendencies.

“Out of Myself” is no exception to that. The music changes from melodic metal inspired pieces to more mellow prog rock pieces. It´s a nice mix even though I feel their metal riffs are a bit generic. Mariusz Duda is a real treat of a vocalist. He has a very personal style and he means a lot to the sound of Riverside. The Pink Floyd, Porcupine Tree, Tool and Dream Theater influences are very clear, but it doesn´t mean that Riverside are clones. They mix all their influences into their own style.

Even though I like “Rapid Eye Movement”, the best of their three albums, this one is definitely also an excellent addition to your prog rock collection. Don´t be fooled by the fact that Riverside is in the progressive Metal category, they are generally a very soft prog rock band. The metal only shines through few places on the album. 4 stars is a fair judgement here.

A review by Gatot:

Riverside’s music is a blend of space, psychedelic and symphonic with some influences of progressive metal. Band-wise it's a sort of blend of influences from Pink Floyd, Porcupine Tree, Ozric Tentacles, early Marillion and Dream Theater/ Pain Of Salvation. Quite a lot of influences, composed in an excellent harmony with catchy melody in many segments. The vast majority of the music style is symphonic in the vein of space psychedelic music (50%) with some neo prog (35%) and progressive metal (15%). This is an excellent debut album.

‘The Same River’ starts off with an ambient intro dominated by electric guitar work in the vein of Gilmour backed with symphonic keys and soft bass line at the background. It reminds me of the beginning part of ‘Shine on You Crazy Diamond’ of Pink Floyd’s "Wish You Were Here" album. Superb opening! The music then flows naturally with drums entering softly and brings a beat to the music. The keyboard sound is still maintained at the background to deliver the nuance. It reminds me of Ozric Tentacles' music. The guitar riffs then come in the music followed by stunning solo guitar in the vein of neo prog music. This is really cool! The first half is purely instrumental, and the vocal line is also nice; excellent track!

‘Out Of Myself’ kicks off with dynamic bass line followed with voice and soaring keyboard in space style (reminds me of Ayreon). The music turns slowly to faster tempo but still maintaining the space and psychedelic nuance.

‘I Believe’ starts with voices in the crowd followed by powerful vocals. The acoustic guitar brings the music in a rather ballad style at the opening and moves to a continuous feel. It ends with acoustic guitar fills, and with some quieter transition the music turns to a kind of prog metal style with heavier guitar riffs and faster tempo, accompanied by dazzling bass and symphonic keys as part of next track ‘Reality Dream I’. The influence of Ozric’s music is obvious. Electric guitar solo is backed with excellent percussion sounds in the background.

The music flows to the 5th track ‘Loose Heart’ which is in medium tempo neo prog style with nice electric guitar (performed softly). It continues with short drum soloing to start the next track ‘Reality Dream II’ through a soft guitar solo. At some transitions the guitar turns to a heavier style with some riffs to accentuate the transition. If you know the Dutch band Flamborough Head, this part reminds me of that band. Some guitar solo is Floydian on this excellent superb track.

‘In Two Minds’ is a song heavily influenced by Porcupine Tree. Even if this song is played without knowing who the band is I would say this is PT! At the opening, the voice line is very similar to Steve Wilson. The song has great acoustic guitar rhythms and soft electric guitar solo; another excellent track.

The intro of ‘The Curtain Fall’ reminds me of Arena’s "Immortal?" album. It is then followed with a catchy Floydian guitar that is really cool! This is a psychedelic song with a sort of Steve Wilson singing style. The album is concluded with ‘OK’, a song performed with the mellow clear voice of its singer.

Well, I admire the band despite the fact that it's their debut album. It's really an excellent album: beautifully composed and excellently performed. I tend to give a 4.5 / 5 rating with a potential upgrade later, with the passage of time to a full five star rating. Highly recommended.

819

The Painter's Palette
Ephel Duath

A review by Conor Fynes:

There are not many metal bands I know out there that integrate jazz fusion so well into their sound as do Italian progressive metal band Ephel Duath. Although they have been first brought to my attention as a black metal band, their second album “The Painter's Palette” shows very little of this style, instead going towards a very forward thinking style of jazz metal that sounds often like a progression of what Atheist was doing in the early nineties. A highly inventive and quirky band, Ephel Duath finds an energetic masterpiece with “The Painter's Palette”, that reinvents their sound greatly into something altogether unique.

Ephel Duath splits their sound evenly between abrasive metal and a more melodic, jazz-infused sound. To the band's great benefit, they manage to put the two together seamlessly, making a chaotic barrage flow into a classy jazz break as if it came naturally. Although Ephel Duath do both sides of their sound with great skill and talent, it is indeed the jazzy side of their music that distinguishes them and makes “The Painter's Palette” an underground masterpiece. To make the jazz jump out even more, there are even a nice number of trumpet solos that almost make one forget that they are listening to what is otherwise an extreme metal record.

On the more metal side of things, Ephel Duath relies on some screams that sound more like they come out of metalcore than anything else, but noisy guitar textures and some beautifully organic drumming makes it all sound as if it is in place. The harsh vocals of Luciano Lorusso are nothing special, but help accentuate some of the album's heavier moments. Where the vocal work really compliments the sound however is with the clean vocals of Davide Tolomei, who takes the points for most of the band's melodies. The melodies are not normally particularly catchy or memorable, sounding all over the place. For Ephel Duath though, it works fairly well, and instead the memorable effect of “The Painter's Palette” is shifted over to the instruments, which are all not only performed, but also produced beautifully.

Ephel Duath's “The Painter's Palette” is an album that takes a while to grow, but with each passing listen, the experience does ferment into a level of appreciation that I can only associate with a masterpiece. An essential album for jazz-metal fusion.

A review by UMUR:

"The Painter's Palette" is the 2nd full-length studio album by Italian avant garde/ experimental extreme metal act Ephel Duath. A couple of major things have happened since the release of the debut full-length studio album "Phormula (2000)" which was released through the Italian Code666 label. After signing to Elitist Records (which is a subdivision of Earache Records) Ephel Duath repackaged "Phormula" and included the tracks from the "Opera (1998)" demo, releasing it in 2002 as "Rephormula".

The band originally started out as a duo consisting of Giuliano Mogicato on bass, guitar, synthesizer, vocals and programming and Davide Tiso on guitar, synthesizer, vocals and photography, but before the recording of "The Painter's Palette", Giuliano Mogicato had left the band and Davide Tiso started to assemble a new lineup. In addition to Davide Tiso on guitars, the new lineup consists of Luciano George Lorusso who handles the raw extreme vocals, Davide Piovesan on drums, Fabio Fecchio on bass and Davide Tolomei who handles clean vocals. In addition to that lineup Maurizio Scomparin plays trumpet on a couple of tracks while producer Paso acts as arranger, plays synthesizer and adds electronic noise.

The music on "The Painter's Palette" is vastly different from the music on "Phormula". It´s not long ago I reviewed "Phormula" and my description of the music on that album was something like this: "Symphonic black metal with twisted adventurous riffs and electronic drums". My description of the music on "The Painter's Palette" probably goes something like this: "Avant garde/ experimental extreme metal with twisted dissonant riffing, fusion drumming, extremely aggressive vocals but also calm clean vocals, jazzy non distorted breaks and occasional free jazz trumpet playing". That might sound pretty confusing, but Ephel Duath actually make those ingredients work together extremely well. It´s a long time since I´ve heard anything this unique from a metal act. Sure there are references to John Zorn´s “Naked City” and Mr. Bungle too, but the music on "The Painter's Palette" is in the end an entirely different beast. The music is dark, aggressive and complex. Yet there´s that important memorability element present in the music at all times, that is vital in music as diverse and complex as this. After a few listens the music actually becomes a bit more accessible which I certainly didn´t feel that it was upon my initial listen.

The musicianship on the album is simply outstanding. The diverse nature of Davide Tiso´s guitar playing and his adventurous approach to composing is simply a treat. The new rhythm section is outstanding too. New drummer Davide Piovesan is positively on fire with his busy, fast-paced and complex fusion drumming. While the raw vocal/ clean vocal approach isn´t exactly new and wasn´t in 2003, it works very well on "The Painter's Palette". Harsh styled vocalist Luciano George Lorusso is in the same extreme league as post hardcore vocalists in acts like Burst, The Ocean, Converge and Breach. Clean vocalist Davide Tolomei has a pleasant calm vocal style which suits the music very well. No honey dripping emo vocals here, thank you. While the instrumental part of the music most of the time is handled by guitar, bass and drums, the addition of the occasional free jazz trumpet part is really a great feature and brings lots of atmosphere to the music. There are a few electronic elements and keyboards in the music too which also help enhance the atmosphere.

The album should be listened to as a whole but there are of course highlights. The opening track ‘The Passage (Pearl Grey)’ kicks the album in gear with a blast. You´ll find just about everything that is great about "The Painter's Palette" featured in that track. The instrumental jazzy ‘Praha (Ancient Gold)’ also stands out from the rest of the tracks on the album.

The production is professional and it´s got a raw organic feeling to it that I greatly enjoy. It´s not too sharp and clean like many other contemporary metal productions.

It´s quite amazing how much Ephel Duath have grown and developed their music style since the release of "Phormula" and if I didn´t know I would never have guessed it was the same band who released both "Phormula" and "The Painter's Palette". "The Painter's Palette" is a unique experimental extreme metal album and has, since its release, influenced loads of other acts. It´s one of those few groundbreaking albums in the genre that you have to have heard at least once. The chaotic nature of the music and the extreme vocals might put off a few people but for most who are able to appreciate the music on the "The Painter's Palette" the album is deservedly considered a classic. This is a must hear album and fully deserves a 4.5 star rating. I´ll let time and further listening sessions decide if I´ll upgrade this one to a full 5.

820

Il Grande Labirinto
La Maschera Di Cera

A review by Conor Fynes:

Even first judging by the album cover alone, it is clear that “Il Grande Labirinto” may see La Maschera Di Cera wander into stranger territory than they did with their self-titled debut, an album I found myself quite impressed with. All the same, La Maschera Di Cera did not see this skilled quintet modify any formulas that the Italian progressive rock scene had not already refined to a fine science. “Il Grande Labirinto” holds true to the band's origins in vintage 1970's-style prog, but the stakes are raised with a few quirks and surprises along the way. Although La Maschera Di Cera's debut was fairly easy to pinpoint as a traditional RPI record, here we see the group take a more challenging, and potentially rewarding route.

Now just sneaking over the hour mark, La Maschera Di Cera has really toned up their ambition with “Il Grande Labirinto”. In the years since its release, it seems to have earned its throne as the most respected of the band's accomplishments, and when compared to my previous experience with the band's debut, I am seeing this band outdo themselves. Even so, this more left-of-centre approach to the vintage prog sound is not executed quite well enough to merit that fabled 'masterpiece' rating for me that many have given it. “Il Grande Labirinto” is an overall improvement from what they did before, but I am finding that, in their expansion to new sounds, they have sacrificed some of the immediate charm that first endeared me to the debut. Regardless, it goes without saying that “Il Grande Labirinto” is an album that begs for a listener to pursue it in-depth; with a two part epic bookending the album that stretches well over half an hour, there are no holds barred with the band's approach this time.

Comparisons to Banco Del Mutuo Soccorso may still be made, although La Maschera Di Cera do seem to have broken out of that pure 70's worship mindset here. All sounds heard here are those of the classic 70's Italian prog, but the music often focuses on dark atmosphere over musicianship and traditional composition. La Maschera Di Cera still retain their penchant for letting their epics run wild and loose, although with the less solo dense performance, the music becomes easier to settle into. This time around, keyboardist Agostino Macor deserves the highest props, for delivering both lush rhythm orchestrations and tastefully energetic synth solos. As was the case for the debut, the guitars here feel a little too subdued, often letting Fabio Zuffanti's throbbing bass work take over. While not a fault in the music per se, it would have been nice to hear the sound of the guitar find a place in this music.

Although “Il Grande Labirinto” does not quite reach the plateau of being one of my favourite RPI records ever, I would say that it's damned close, and may even become one of them, should it grow much more on me.  La Maschera Di Cera are evidently an incredibly technically skilled act, but I was not expecting them to incorporate such a tasty dose of atmosphere into their music as they have done here. This is an album that becomes more enjoyable as the various ideas become more familiar to the listener.

821

Office Of Strategic Influence
OSI

A review by UMUR:

What a great album from former Dream Theater keyboarder Kevin Moore (Now Chroma Key), Jim Matheos from Fates Warning, Mike Portnoy from Dream Theater and Sean Malone from Cynic/ Gordian Knot.

The music is a mix of mostly Chroma Key and newer Fates Warning. If you like the guitar sound and riffs on Fates Warning´s “Disconnected” mixed with the more ambient mood of Chroma Key you just gotta love OSI´s debut album “Office of Strategic Influence”. Kevin Moore sings on most of the songs with his mellow and nice vocals. Some say his vocals are indifferent and leaves them cold, but I really like them and even though they can seem emotionless, I think they suit the music well. Steven Wilson from Porcupine Tree guests on the song ‘ShutDOWN’ with his good vocals.

Needless to say, that the musicians are outstanding, and the production is very good. The songs are very well composed and very emotional even though there are some really heavy parts too. Songs like ‘The New Math (What He Said)’ and ‘OSI’ are pretty heavy songs but I think these two songs which are the first songs on the album are the most heavy songs here, so listen a little further if this puts you off.

I have just rated the limited edition version of this album, and I would strongly recommend that you get that one if you have the chance. 28 minutes of extra music is worth mentioning, though it is still an excellent album in any format that deserves 4 stars.

A review by Bonnek:

OSI is a project consisting of a couple of musicians from bands that stand very far from what I want to hear in progressive metal. And yet, bringing them together for this album creates pure progressive metal bliss. Many thanks to singer/keyboard wizard Kevin Moore I'd say. Jim Matheos and Mike Portnoy are great musicians and they both shine on this album, but Kevin Moore understands the art of crafting meaningful songs out of the available talent.

Moore's vocal skills tend to divide options though. He's as far from the expected metal cliché vocalist as you can possibly get, and his seemingly detached and subdued delivery will disappoint many metalheads. For me it works just fine. It's one of the aspects that make this project stand out from the rest of the progressive metal scene.

Another element is his keyboard playing of course. Again it is very different from the symphonic keyboard bombast you get in the usual prog metal deal. Moore's interests are rather in techno, dub and sampling, meaning the electronics here brings the sound close to NIN; another factor that might frighten away metal fans.

The songwriting is great throughout but the highlight comes from Steve Wilson's contribution. He is partially credited for the songwriting on ‘ShutDOWN’ but I guess his mere presence already suffices to bring out the best in every musician that comes within reach of his halo. The man is a genius. Other highlights are the instrumental ‘Dirt From A Holy Place’ and the techno space rock of ‘Memory Daydream Lapses’.

To sum it up, “OSI” is the perfect metal album for non-metal fans. 4.5 stars.

822

Last Epic
A.C.T

A review by Gatot:

Cabaret Symphonic Prog Rock - a true masterpiece album!

Who says prog music must be dark? Well, some people say the darker the music, the more it is prog. But A.C.T. has proved the other spectrum in which their music, mostly upbeat and in a fast tempo, gives a humorous nuance even without knowing the lyrics. It’s funny, but it's very enjoyable and I started to love the band. When I look deeper in greater details at their music, it's composed neatly with an excellent melody and top notch arrangements. On the basis of tight and neat composition, the musicians deliver their contribution flawlessly. This is my only CD of the band. Previously I reviewed their debut album “Today's Report” borrowed from my prog mate's CD collection, and I loved the music. That's why I purchased this album from a local music store where I was very fortunate that it was available down here in Jakarta, and it's worth the investment because it’s great music! Unfortunately, very few prog bands DARE to come here.

‘Intro’ as the name implies, sets the opening theme for the album. It comprises a real orchestra arrangement in an overture style. Nice. ‘Wailings from a Building’ blasts the music off with a fast tempo intro using keyboard solo as the lead, accompanied with a guitar rhythm, bass and drums performed in fast speed, but it does not sound like a typical power metal rhythm. It's a really cool intro, and the music suddenly turns into a quieter passage when the vocal starts to join the music; "No, it cannot be the morning light.". What's so unique is the music riffs that accompany the first singing part; it's a very neatly arranged violin/ cello combined with keyboard. It reminds me of prog metal music but it's not that heavy, though a wonderful arrangement. For me personally, I never found this kind of music before, but it sounds amazing! The vocal is so powerful, and during the interlude part, the guitar does a stunning solo with no distortion at all. Well, everything in this track has been neatly arranged making me speechless.

‘Mr. Landlord’ starts off with a humorous style lyrical part, "You better honour him, don't jeopardize your stay, Put on that perfect smile and start sucking up! Hey! Mr. Landlord, nice to see you again." It is in a relatively medium-fast tempo, with a great opening part. The song flows dynamically with great variations of high and low register singing style by the lead vocalist. Violin/ cello plays beautifully during the musical transitions. The guitar solo plays shortly with great melodies, and it sounds like a cabaret symphonic prog rock music, I would say. Is there any kind of that sub-genre?

‘Torn by a Phrase’ has a catchy intro, and it starts off with soft and inventive guitar riffs. However do not imagine that this is something like a prog metal riff, as it's so cool and soft. The keyboard sound enriches nicely with beautiful repeated chords. When vocals start to enter the music, acoustic guitar and violin/ cello plays beautiful music in the background. During the singing part, the music plays beautiful chords in a riffs mode. There is also a lovely transition with classical touch and improvisations by multi instruments. ACT’s music is so unique and I would say that it's very hard to classify their music, though it's not derivative.

‘Ted's Ballad’ begins with a violin/ cello sound that brings the vocal to start in a mellow, melodic way, accompanied with beautiful piano sounds in the classical vein. I thought that this was gonna be a sad song, nuance wise, but when it reaches the chorus, it does not sound that way. The interlude part explores a light orchestral arrangement dominated by cello and electric piano. Oh, what a great arrangement!

‘Dance of Mr. Gumble’ brings the music in a very fast tempo again with excellent keyboard and guitar works, composed neatly, performed flawlessly. The keyboard sound provides a symphonic nuance but with soft musical riffs. The guitar solo is stunning, even though it's not a long one; it's an excellent instrumental piece.

‘Wake Up’ show-casts how the band plays the game again through providing music that makes you laugh. It starts simply with a reggae style, though it's not truly reggae as the band has included orchestral arrangements as well. The interlude features a guitar solo with a different rhythm section that sometimes gives me a surprise such as a sudden change to a quiet passage with a short bass guitar solo.

‘Manipulator’ is probably the most symphonic as far as the opening part. What surprises me then are guitar riffs followed with a powerful vocal tone. This track has a variety of melodies whereby sometime the music turns mellow with melodic vocal line backed with violin, and sometimes having heavy riffs. It's so dynamic as far as composition. I cannot picture precisely how great the composition is of this song. Top notch and very original, and I cannot identify any influence by other bands.

‘A Loaded Situation’ explores dynamic keyboard solos in fast speed with technical capability at its best. The music suddenly changes to another form with great combination of guitar, bass, drum and keyboard. Another great instrumental piece in a very discrete structure but it produces an awesome music, and I love it.

‘The Observer’ opens with a short choir recorded in a sound effects mode. The music flows in an upbeat tempo with an uplifting mood. Vocals play an important role where the vocalist sings in his full swing that is able to bring the music dynamically. It has a powerful keyboard solo and a great symphony at the back.

‘The Cause’ is fast tempo music with a combination of a distanced singing style. The mood is still uplifting especially during the chorus with backing vocals. This is probably the simplest form of ACT music as the composition is less complex than the others.

‘The Effect’ has a different singing style; it's performed in low register notes accompanied by a nice cello augmented with piano. The chorus brings the vocal line into higher register notes. Light orchestra is inserted in between segments, and the nice thing is that in some segments the lyrical part has a very catchy melody.

‘Summary’ is a very powerful song with great composition whereby it contains fast tempo music and melodic singing during mellow passages with excellent violin/ cello. It sounds like ACT’s music has a very dynamic style whereby tempo changes happen frequently and in an unpredictable way. For example, there is the inclusion of wonderful keyboard soloing in the middle of the track that happens suddenly beyond my anticipation. Well, it's hard to say it but it's better if you buy the CD and find your own words to best describe this song's composition, so wonderfully crafted!

‘Outro’ comprises melodic light orchestra with short lyrics, "Now you've heard a tale been told, It's up to you, could this be true".

One thing for sure that is true is this is a highly recommended album. Full five stars rating (because I cannot go higher than five!). The production and sonic quality are great and this is truly a masterpiece.

823

Effloresce
Oceansize

A review by Bonnek:

Efflorescing indeed but slightly Oversized.

Called progressive against their own will, Oceansize's music is nevertheless packed with progressive tendencies and bears many similarities to prog-related indie like Radiohead and emotive prog like Riverside and Porcupine Tree. Of course their music has nothing to do with playing faster than what the human ear can follow, nor with music that does reproductions of old prog rock glories, nor with any definition of Progressive Rock that concentrates on style and form. Oceansize is a modern rock band that takes in whatever idea, influence or sound that fits their songs, just like King Crimson, Genesis or Yes did in their time.

For all those reasons I would really want to love them with all my heart, but regardless how overwhelmed I was in the beginning, this debut suffers from a typical child disease called too many ideas. It makes the album both hard to sit through in one go and diminishes the overall quality with repeated listens. The problem is that some songs are too long for their own good and that the entire 75 minute album overstays its welcome.

There is spectacular material aplenty though, like ‘One Day’, ‘You Wish’, ‘Saturday Morning Breakfast Show’. Oceansize are named after a song by Jane's Addiction (one of those early 90's bands that screamed prog at me from the first time I heard them) and sonic outbursts as in ‘Saturday Morning Breakfast Show’ or as in ‘Massive Bereavement’ are a clear indication of their influence. Other songs like ‘Remember Where You are’ and ‘Amputee’ offer too much of the same and distract from this band's obvious talents.

Oceansize's debut is an impressive album, mixing an equal part of post-rock, emo, indie and modern progressive rock that lovers of Porcupine Tree, Anathema or Radiohead should lend their ear too. It could have been a 5 star 60 minute album, but it has become a 75 minute 4 star. I'm sure some people will say that's mathematically the same thing but music is no math for me, this album suffers under the bulk of material and would have greatly benefited from careful editing.

A review by Mellotron Storm:

Very alternative sounding with lots of instrumental outbreaks and spacey soundscapes, this is Oceansize's debut and they made quite a splash. Some call this Indie, Psychedelic, Progressive or Metal so they offer up an interesting blend. The vocals remind me of the Brandon from Incubus at times.

They open the album with an instrumental called ‘I Am The Morning’ that goes from mellow to intense then back to mellow. ‘Catalyst’ has a heavy, industrial sound to open, this song reminds me of Incubus, as it gets pastoral with outbreaks, and ends with some scorching guitar. I like the heaviness of this tune. ‘One Day All This Could Be Yours’ is quiet to open before a nice drum section takes over and vocals follow. This is great! It's heavy and intense 3 minutes in. ‘Massive Bereavement’ is a great tune that builds with a nice guitar melody that gets crazy around the 5 minute mark; it all ends with a wall of sound.

‘Rinsed’ is a laid back but dark instrumental. ‘You Wish’ is one of the heaviest songs with aggressive vocals and heavy riffs. ‘Remember Where You Are’ opens with percussion as it builds to a mid-paced tune. Some heaviness 4 minutes in with some great guitar, then it settles again. ‘Amputee’ is a straight forward rocker with some excellent guitar. ‘Unravel’ has this trippy beat with spacey sounds and keys; cool track. My favourite on the album is ‘Women Who Love Men Who Love Drugs’. Gotta love the picked guitar in this one, and it kicks in heavier after 3 minutes then settles again with a spacey ending. ‘Saturday Morning Breakfast Show’ is another guitar driven song but it opens with an electronic beat. ‘Long Forgotten’ is relaxed with reserved vocals and it does get fuller. A calm 4 1/2 minutes in then it picks back up; beautiful track.

A great debut and I like the next one even better.

824

Testimony
Neal Morse

A review by Gatot:

A concept album with grandiose design.

I was not really "into" Spock's Beard’s music when Neal Morse was there for the illogical reason that I did not like how the music of Spock's Beard flows from one segment to another, as it did not sound natural to my ears and my mind. I was also aware that Neal's voice was not bad at all but I did not really favor the way he sung therefore I did not really admire the band's early albums. After Neal Morse left the band, I started liking Spock's Beard's music especially when "Octane" was released. The band was in limbo to strive for a new frontman and composer but they were okay with their life without Neal.

As for Neal's solo career, I did not really expect that he was going to release an album as I understood from some friends that Neal would focus his life on religious activities. This album shocked the prog world at that time or at least right here in my country. Most of my friends who admire Neal's tenure with The Beard were surprised and very happy with the release of this album. I was not interested at all to buy this CD even though most of them told me that it's worth owning. Having owned "One" and "?" albums which both sound good to me, it's kind of weird not having this "Testimony" album. But I'm quite reluctant with the double CD for merely listening to Neal's music and voice. The first time I spun the CD, it did not attract me but it grew with a number of spins. Most of the time, I get bored with the first CD and not willing to continue with CD 2. I still have trouble with the flow of the music which sounds to me like it is being forced in a way.

Storyline. I believe some people adore an album with a strong storyline, which is the case with Neal's "Testimony". As a person who believes in God, I always admire people who can make a music with an orientation towards God and how human beings behave in their relation to God and other lives. For this, I don't need to talk about prog or rock music, I also love other kind of music which has an orientation towards God. Neal seems quite serious with the storyline as it can be heard clearly right from the beginning of his story with a thought provoking title ‘The land of beginning again’ (3:10). Through this opening track he conveys a message proposing we can start all over again with a totally new life where all the bad things we have done are truly gone.

He then brings his story through a journey with music on ‘Overture no. 1’ (5:58) which then leads to his praise on God's grace through the following track ‘California nights’ (5:46) where he says "it’s only by the grace of God that I’m still alive!" You bet, Mr. Morse! And the story goes on his life journey and his relationship with God until his praise "Cause you are, You are the tongues of angels, And you are, You are the winds of time, That's what you are, The soul that feeds my freedom," followed by the ending part of the story ‘Oh lord my God’ (3:54) on CD 2.

Composition. Of course, one of Neal's strengths is his virtuosity in composing his music. From the opening until the end you might find the variety of styles he presents through "Testimony" even though some of them are not new and very similar to Spock's Beard’s music during his tenure. You might find at Disc One track 8 ‘The Promise’ (2:52) which has proximity with Gentle Giant's choir. It's really nice and it reminds me of the music of early Spock's Beard. He combines segments with complex arrangements and those with simple ones which comprise acoustic guitar and/ or piano. My favorite track which has excellent composition is track 10 of Disc One: ‘Overture no. 2’. Oh yes, it proves that Neal Morse is a good composer.

Conclusion. It's definitely a concept album with grandiose design, composed with rich textures. It favors those of you who can appreciate music with a strong storyline and well-crafted composition. The only caveat, probably, is that you might get bored listening to the story with double CDs (or even three CDS!). "Oh You are my soul, You are my soul. Thank You."