SYMPHONIC PROG

Emerson, Lake & Palmer was the progressive rock first super group. Greeted by the rock press and the public as something akin to conquering heroes, they succeeded in broadening the audience for progressive rock from hundreds of thousands into tens of millions of listeners, creating a major radio phenomenon as well. Their flamboyance on record and in the studio echoed the best works of the heavy metal bands of that era, proving that the classical rockers could compete for that arena scale audience. They were also responsible to bring the classical music to the public in general, making of them a great ambassador of the classical music. Over and above their own commercial success, the trio also paved the way for the success of such prog bands as Yes, who would become their chief rivals for much of the 70's.

"Live At The Royal Albert Hall" (DVD) has twelve tracks. So, we have, "Karn Evil 9 (1st Impression ? Part 2)" from "Brain Salad Surgery", a medley taken from the title track suite "Tarkus" from "Tarkus" with "Eruption", "Stones Of Years" and "Iconoclast", "Knife Edge" is from their eponymous debut studio album, "Paper Blood" is from "Black Moon", "Creole Dance" is based on the Alberto Ginastera's "Suite De Danzes Cirallas", "From The Beginning" is from "Trilogy", "Lucky Man" is also from their eponymous debut studio album, "Honky Tonk Train Blues" is from "Works Vol. 2", "Romeo And Juliet" is also from "Black Moon", "Pirates" is from "Works Vol. 1", "Pictures At An Exhibition" is from "Pictures At An Exhibition" and the final medley with parts of "Fanfare For The Common Man" is also from "Works Vol. 1", and "America" is an extract of a piece by Leonard Bernstein and "Rondo" is an extract t of a piece by Brubeck.

About the pieces, "Knife Edge" is a great piece with emphasis to the bass lines. "Lucky Man" is a great acoustic ballad, beautifully sung. "Pictures At An Exhibition" is an re-arranged piece that stays true to the original, but played with the rock energy. The medley of "Tarkus" is a short part of a complex piece with great creativity. "From The Beginning" is a very beautiful acoustic song with a very simple musical structure. "Karn Evil 9 (1st Impression ? Part 2)" is one the four parts of the piece. It belongs to one of their best pieces only can be compared with the suite "Tarkus". "Fanfare For The Common Man" is a great re-arranged piece, one of the best on "Works Vol. 1". "Pirates" is another great composition on "Works Vol. 1" too. "Honky Tonk Train Blues" is a re- arranged nice and funny song played in a boogie-woogie and jazz style. "Paper Blood" is a simple commercial rocker but damn good for what it is. "Romeo And Juliet" is a superb re-arrangement of "Dance Of The Knights" from Prokofiev's ballet "Romeo And Juliet". This is an amazing version of an amazing piece. "Creole Dance", "America" and "Rondo" are all great, especially the last two that were played together.

With this show, Emerson, Lake & Palmer showed that they had not lost anything in the 14 years of absence and performed as a group, and their new material kept up with their tradition of blending the lines of the classical music and rock. This DVD showcases the power and majesty that made of this band such a force in the 70's. It has the power and majesty of the symphonic and the energy of rock. It's hard to imagine this power coming from only three persons. But, when one see the vast array of keyboards that Emerson plays, mostly analog but with some concessions to digital modernity, it's perfectly understandable. Emerson with his freewheeling and his devil may care style of playing, is magnificent on the keys, whether prodding them to full power or showing off the subtle nuances that demonstrates his prowess to coax the most subtle sounds from them. Palmer whose work on the drums is equally amazing and subtle, but with grace at the same time, showed why he is a power in the rock circles. Lake was captured in finer voice and his nuanced playing bass and occasionally guitar stands out and the force of the other two never overshadows his playing.

Conclusion: This DVD shows, to me, a great live gig. Emerson is, as always, the master showman. For the encore, Emerson pulls a few The Nice era numbers out, and, as expected, he brings out the knives. The stage spins to reveal a poor hapless Hammond spinet organ. Emerson proceeds to abuse the instrument within inches of destruction. When he pins himself under the organ and plays it, this after spray painting an ELP's logo graffiti style on a faux brick wall. He can't help think of the originality and grandiosity of this amazing super group. This 70's odd minute DVD is a wonderful addition to the musical library for a far ranging variety of reasons, not the least of which is for historical purposes. Here, you can see where the prog rock music you are listening today had some of its roots. There is the power and the majesty of the music that these three great musicians generated, and for what was, and still is some of the finest blending of the classical music with rock. So, don't be fooled and check, soon as possible, this amazing live concert.

Prog is my Ferrari. Jem Godfrey (Frost*)

1. "1939" (3:01) a wonderful, beautifully-composed and -rendered classically-imbued symphonic opener. (9.5/10)

2. "Les ennemis d'hier" (4:33) powerful prog that sounds like a combination of LAZULI, NEMO, and a pinch of the Maurin brothers. (8.875/10)

3. "La bataille de l'Ebre Pt. 1" (5:22) great opening that turns ALCESTian but then more NEMO or RIVERSIDE. Too bad it's all within the confines of a tightly proscribed ascending chord progression (though, thankfully, not the "chorus" section). (8.75/10)

4. "La bataille de l'Ebre Pt. 2" (10:41) the careful, almost meticulous two-minute mathematical piano and vocal intro unleashes a heavily-power-chord-accented piano concerto until 4:25 when everybody backs off in lieu of some romantic piano chords backing Gérald's lead guitar soloing. "Piano virtuoso" Gionatan Carradona's sound and performance are captured quite well. In the middle of the seventh minute the music turns piano-less with some drum and bass supporting Gérald's vocal before his electric guitar's power chords resume and some "strings" enter to support some more guitar and then piano soloing. (18/20)

5. "Les trains d'ombres" (5:51) a song that plods along like so many of the NEMO songs that I used to tire of. The musicianship is fine, the sound palette a little abrasive, but the song lacks the "warmth" and inviting space for engagement--the walls of sound almost pushing me back and away. (8.6667/10)

6. "Une colline sans nom" (14:32) interesting start with a rhythm track that wants to suck you in but then the barrage of guitars and synths (especially after the first 90-seconds). I never expected this long song to be an instrumental, but the first half contains absolutely no lyrics much less singing! There is some fine prog rock here--quite dynamic with lots of twists and turns--including the one at 8:45 which turns into an classical acoustic guitar-based motif with synth "strings" washes for accompaniment and human whistling serving as the lead melody maker until 10:15 when the full band kicks back in and Nicolas Garcdel's synths take over. The Paul SPEER-like guitar returns at 11:25 to carry the main melody forward (almost ad nauseum) for a full two-minutes before he unleashes an impressive solo in the fourteenth minute, taking us right to the end of the song. Quite a solid, interesting, and entertaining song. (27/30)

7. "L'encre des maux" (4:46) a steel-stringed acoustic guitar strumming along with Gérald's vocal. It sounds a bit like a cross between TOM PETTY, DAVID BOWIE, and LOVE AND ROCKETS. (8.875/10)

8. "Demain à l'aube" (13:39) opens with 2:25 of some very pensive cinematic chamber music that has cello and piano in the fore while well-rendered synth "strings" accompany from behind. Then we're left with piano accompanying Gérald in a wonderful vocal performance: using a frail, fragile voice to slowly, very deliberately deliver a MARCO GLÜHMANN-like melody and sound. At 4:45 the fully "orchestrated" band steps up to back and then take over the music. Okay, so Gérald finally softens and changes the sound of his electric guitar's power chords (something I've been hoping/longing for since the second song). At 6:30 the music takes a turn down a more dynamic country road in which Hammond organ and guitar weave in and around each other without either really claiming the lead: both contributing detailed, precision-based playing before a synth comes in to join their weave. In the ninth minute everybody congeals into a more even-keeled, standard-tempoed motif for Gérald to return to singing (even multi- tracking his voice for some b vox). This is the first time on this album that I've been truly reminded of the classic prog band ANGE that several other reviewers seem to hear in Gérald's music. Swirling Hammond chords and angular guitar riffs next help to bridge the way to a powerful DAVID GILMOUR-like motif that starts at 10:25. This will be prog heaven for most progheads! Especially when he triples his speed in thirteenth minute. The music then devolves into a cello-led revisitation to the opening soundscape for the final 30-seconds. This is probably the best song on the album-- definitely the best epic. (28/30)

9. "Les passagers du vent" (5:14) strummed acoustic guitar, piano chords, and Gérald singing. In the third minute a multi-track vocal chorus leads into a STEVEN WILSON-like instrumental passage that unleashes another nice Gérald Massois electric guitar solo starting at 3:30--one that plays out through a long fade out to the song's end. (9/10)

Total Time: 66:39

Great sound applied to some very nice if-sometimes defined and confining compositions. I wish Gérald's power chords had used some variation in both sounds and volume but they always seem to be the exact same in every song. Also, Maxx Gillard's proficient drum performance is weakened to my ears/brain from it's high-pitched "plastic" reverb/echo sound and slightly-high volume. I guess I kept hoping for some looser, more-spacious and not so contrived and controlled feeling in the music. The symphonic aspect of Gérald's compositions are wonderful; it's the almost-suffocating lack of room for improvisation and spontaneity that makes me squirm a little uncomfortably.

A-/five stars; a minor masterpiece of modern progressive rock of the heavy-symphonic kind (think of MYSTERY or SYLVAN). Highly recommended to all those prog lovers who prefer their music a little heavier and emotional.

The album opens up with 'Overture', a thematic instrumental combining the rich keyboards of Antony, the fluid touch of Max Velychko on guitar and the class of Daniel Ilyin on electric violin. This leads straight into the next song 'Storyteller (Part 1)'.

'Storyteller is unashamedly inspired by the Canterbury scene and what better guest musician to have than Richard Sinclair (Caravan, Camel, Hatfield & The North) on bass guitar and vocals. The words of the song clearly is seen from the point of view of the audience eager to be lost in the worlds and words created by the Storyteller. Other talented guests include John Hackett on flute and Michel St. Pere (Mystery) on guitar all adding to the wonderment of the story.

'Whispers From the Past' begins straight away with Antony singing immediately followed by Gregorian type backing vocals. This is subsequently added with subtle strains of the violin. This is a meditative track between 'The Storyteller' and the next song in line 'The Spark'.

'The Spark' is an upbeat song sung by guest vocalist Per Malmberg from the Swedish prog band Salva. This tune has an AOR bent, a solid and rich song very much in the melodic rock style. This is song writing I wouldn't expect much on a Karfagen album. And this is no detriment. This strongly emphasises Antony's intention of being 'Universal'. Antony is reaching out in a slightly different paradigm.

'Masterplan' begins with strong synths and underlying piano with Antony also returning with is vocals. Superb harmonies sung here as well involving both Olga Rostovska and Bartosz Kossowicz. The music itself exudes confidence. The clarity and bold keyboard styles carries on this upbeat flow we just experienced from 'The Spark'. I also get a sense of funk when I hear the title 'Masterplan' sung.

'Mirror of Souls' is a short instrumental, a bright interlude overflowing with the wealth of talent between Antony Kalugin, John Hackett and Daniel Ilyin.

'Unchained' is a sombre song sung by Jean Pageau, another guest from the rich pool of talent of the band Mystery that could not be a better choice for this song. The depth of sorrow he brings enriches the torment that is the character of this song. Through all this darkness hope is regained at the end. Also fully emphasised by the empathic playing of Max Velychko on guitars.

'The Cards We Play' is the longest track on the album and in my opinion the highlight. John Hackett's flute flows in with an elegant piano playing aside. The smooth and delicate vocals by Marco Gluhmann (Sylvan) introduce the song backed by ghostly touches of the strings on the guitar by Michel St. Pere (Mystery). The music soon swells to a pure melodic sound with a dramatic piano driven in the background midway through the song with intricate guitar. Oxygen hits the embers of Marco's voice into a full flame with entering an exciting climax coming to a heartfelt and mellow conclusion.

'You And I' is led by Bartosz on vocals. The music gives a sense of mystery and the fate of life. This song has a firm and tight direction which is a perfect entry as a single which I now believe has been released as a single.

'Storyteller (Part 2)' which is naturally the bookend to the album which cleverly reveals the point and reason of storytelling. We also receive a bonus track 'Omni II Overture' hinting at a sequel and why not?

In conclusion this project is all-encompassing. Antony has truly brought in many different elements and has weaved a wonderful story about storytelling. This is also not a typical Karfagen album. This is more a song structured album I would more associate with his other project 'Sunchild'. Karfagen albums have normally centred around an instrumental structure. The instrumentation is still very strong and sound. Antony has given us more to revel in, more music and thought to expand our minds. Omni is 'All', it is 'Universal' and it is 'All-Encompassing'. Buy this for a complete experience. Omni is brilliant and fulfilling.

The song Tarkus is arguably one of the greatest pieces of progressive rock ever composed. At first, it feels more complicated and leaning into the avant-garde genre than other long, sprawling progressive rock ballads. For this reason, it may not be as accessible as some other progressive rock songs are, especially to people who are new to the genre. ELP always did make music that was edgy and even a bit pretentious. While some may say that it's a bad thing, I feel like that "pretentiousness" only serves this record, not hinder it. With Tarkus, they composed something truly amazing and that's - at least partly - thanks to their will to go beyond what's accepted, even in progressive rock. An amazing showcase of first-rate synthesizer-playing and outstanding lyrics, Tarkus will probably remain in my top 5 progressive rock songs list for a long time to come.

Therefore, Tarkus still remains an essential record in progressive rock because of the title track alone, but that's about the end of the album's magnificence.

The short opening track ''Down the Road'' serves well the reason of its existence, a nice rocker with a brutal organ sound and driving grooves, but the rest of the album is the real deal.The two longer tracks ''Song for America'' and ''Incomudro - Hymn to the Atman'' are two of the most impressive compositions written by the band and fantastic examples of 70's US Prog.Rich and complex arrangements with lovely vocal lines and a great sense of melody, offered through textures torn between rockin' madness and inspirations of Classical nature, filled with massive organ and moog synth waves, Steinhardt's powerful violins and the elegant piano interludes of Livgren.'''Lamplight Symphony'' is another winner, having a dramatic mood all the way with synths more in evidence, but always maintaining a rich and emphatic sound full of instrumental activity.''Lonely Street'' releases the well-known Boogie Rock side of Kansas with bluesy guitars, good breaks and a very doomy groove.''The Devil Game'' is a short Hard Prog jewel.Violin, organs and furious rhythmic parts combine in a masterful way to produce a fast track full of changing moods and dynamic solos.

Albums like this make me sad when thinking about people who know Kansas only from ''Dust in the wind''.We're talking about full-blown Progressive Rock here filled with passion, intensity and virtuosity, delivered in very tight and memorable compositions.No less than highly recommended. Symphonic sophomore great second effort, 4.5

After a long career that began in the late '60s, the Dutch band Focus became one of the classic acts in the European prog scene of the '70s.

Focus was the band of Jan Akkerman, one of the most prolific guitarists in prog history. Their music ranged from jazz to the heavier side of progressive rock, with outstanding musicians. Akkerman's counterpart was Thijs van Leer on vocals, keyboards, and flute, while another great musician, Pierre van der Linden, handled drums. Van Leer and van der Linden are still in the band today, keeping the legend alive, while Akkerman left in the mid-'70s. Since then, the band has had its ups and downs?more downs than ups.

But Focus still lives on, and their latest albums, Focus 12 and Focus 11, are my favorites since Mother Focus (1975).

Focus 12 is a great record featuring Menno Gootjes on guitar, Thijs van Leer on organ, piano, synthesizers, flute, and vocals, Bobby Jacobs on bass, and Pierre van der Linden on drums. The music is remarkably similar to their '70s work, making it one of the standout albums of their career. The guitar work is outstanding?Menno Gootjes is a fantastic player. The record moves effortlessly from jazz-inspired jams to moments of true prog grandiosity.

With Focus 12, the band brings back their signature sound and its still alive and well. The combination of masterful musicianship, dynamic compositions, and a clear nod to their '70s roots makes this album a great addition to their legacy. For longtime fans, it's a reminder of why Focus remains one of prog's most enduring names. For the new guys Focus 12 it's a solid introduction to their unique blend of jazz, rock, and classical influences. Focus may have had its ups and downs over the years, but as long as they keep delivering albums like this, their start to find a new path in their career.

Echolyn has been one of my favorite bands since their early days, with albums like Echolyn (1991), Suffocating the Bloom (1992), As the World (1995), and Mei (2002). They have a fascinating discography, but after Mei, and speaking objectively, the band started to lose what made them interesting. The music became boring, lost its charm, its dissonance, its madness?it became bourgeois in sound, in the best sense of the word.

Then came The End Is Beautiful (2005), which had some flashes of brilliance, and their self-titled album in 2012, which starts off devastatingly strong but then fades away, returning to the same patterns without truly transcending.

At the end of 2024, I received an email informing me that Echolyn would be releasing two albums in March of this year: Time Silent Radio II and Time Silent Radio VII. This news sparked a lot of anticipation. To make the release more appealing, the band offered several options, including green purchases with downloads, special prices, and limited editions. Finally, the release arrived. The first thing I heard was Time Silent Radio II.

And here is the review. The truth is, the album generates more expectation than it actually delivers. I think the band's mistake was in creating such high expectations in the first place.

The album consists of two long tracks and runs for almost 50 minutes. It moves through different atmospheres and sounds, gradually building up flashes of intensity and power. I've never fully grasped the concept behind it, but the music envelops you and takes you places. The first track, Time Has No Place, is incredible, evolving in an excellent way. Something similar happens with the second track?the band knows how to jam and play. The music is exceptional and perhaps the best thing Echolyn has done since The End Is Beautiful. Personally, I enjoyed it a lot. All the elements that make us love this band are here.

While it's a great album, it can't be considered a masterpiece?but it is an excellent record, made with dedication and passion. Echolyn reminds me of a band like Tool in the way they build expectations around every release, but in the end, it's just another record.

Jonas Reingold's latest release under Karmakanic, 'Transmutation', is a testament to his ability to bring together an impressive roster of musicians while maintaining a distinct creative voice. Featuring heavyweights like Steve Hackett, Simon Phillips, and John Mitchell, the album is expertly executed, with every player adding depth to the overall experience. The arrangements are detailed, the production is polished, and the instrumental performances are impeccable.

The album starts off with energy, balancing tight compositions with expressive musicianship. The first few tracks carry a lively momentum, blending symphonic elements with modern progressive rock sensibilities. One of the strongest moments comes with "Cosmic Love," where John Mitchell's vocals bring a Phil Collins-esque warmth, supported by an irresistible groove and rich layers of instrumentation. It's a track that feels both nostalgic and fresh, making it a clear highlight.

As the album progresses, the dynamics shift between lush atmospheres and intricate instrumental interplay, showcasing Reingold's versatility as a composer. The interplay between guitars, keyboards, and bass is often mesmerizing, with standout contributions from all guests, adding texture to the arrangements. There's a lot to appreciate in the details, whether it's the tasteful use of saxophones or the occasional bursts of fusion-like complexity.

However, the album's finale, 'Transmutation (The Constant Change of Everything)', is where things get complicated. At nearly 23 minutes, it aims for grandeur but struggles with pacing. While it contains undeniably beautiful moments -most notably Steve Hackett's masterful acoustic guitar passages- it ultimately loses momentum, cutting the rhythm of the album.

Despite its uneven ending, 'Transmutation' is still a rewarding listen. Reingold's vision remains clear, and the sheer talent involved makes it an album worth revisiting. Even if it stumbles in its final stretch, the high points ensure its place as another strong entry in Karmakanic's catalog.

Music: 4 stars

Lyrics: 4 stars

Execution: 5 stars

Emotion: 4 stars

Production: 4 stars

Artwork: 3 stars

Average: 4

Echolyn has been one of my favorite bands since their early days, with albums like Echolyn (1991), Suffocating the Bloom (1992), As the World (1995), and Mei (2002). They have a fascinating discography, but after Mei, speaking objectively, the band started to lose what made them interesting. The music became boring, lost its charm, its dissonance, its madness?it became bourgeois in sound, in the best sense of the word.

Then came The End Is Beautiful (2005), which had some flashes of brilliance, and their self-titled album in 2012, which starts off devastatingly strong but then fades away, returning to the same patterns without truly transcending.

At the end of 2024, I received an email informing me that Echolyn would be releasing two albums in March of this year: Time Silent Radio II and Time Silent Radio VII. This news sparked a lot of anticipation. To make the release more appealing, the band offered several options, including "green purchases" with downloads, special prices, and limited editions. Finally, the release arrived. I think Echolyn made two records?one more progressive and the other more commercially oriented.

Echolyn's earlier work had a youthful energy and a more immediate impact, while their recent material leans heavily into introspection and intricate composition. Some might find that this shift has made their music less urgent or engaging.

It's not necessarily a case of declining musicianship?their technical skills and songwriting depth are still there?but the spark that made their earlier albums feel fresh and adventurous might not hit the same way anymore. If you feel they've aged badly, it could be because their approach now feels too careful or lacks the raw emotion and drive they once had.

In the end, this record feels inferior. If you look at it or listen to it, you have to like or dislike something immediately. But Echolyn is still a very original band, and this is a more mature album?one that reflects a time when people listened to the radio and didn't have social media. It's a slow album, but if you give it time, it will eventually pull you in.