HEAVY PROG

Configured within a wide sonic spectrum, 'Demons and Wizards' unfolds between the exquisite acoustic guitars of Mick Box accompanied by the rhythmic base of Mark Clarke's bass and Lee Kerslake's percussion in the limpid "The Wizard", the virtuosic guitar flexibility with Box's wah wah effects in the adventurous "Traveller in Time", Ken Hensley's dizzying keyboards on the vibrant "Easy Livin'", David Byron's vocal power on the energetic "All My Life", and the thick mid-tempos that intertwine hard rock roughness with progressive overtones on the emotive intensity of Circle of Hands (surely among the album's best moments), and on the ghostly "Rainbow Demon".

And with an acoustic tuning of a certain similarity to Zeppelin's 'Friends', the lilting but very linear "Paradise" dissolves into the introductory chords of the active and hasty "The Spell", the very good closing piece in which different musical planes coexist, such as piano rock, progressive elements with Genesian tints and the vocal interaction between Byron and Hensley.

With more than 3 million copies sold and the placement of the single "Easy Livin'" at position #39 on the North American Billboard, the allegorical "Demons and Wizards" is the most successful album of the English band.

4 stars

The album shows a great sense of cohesion and maturity right from the start with the frenetic and homonymous "Look at Yourself" and the rhythmic "I Wanna Be Free", hard rocking tracks that combine Mick Box's fiery riffs and awakened guitar solos that at times go a few decibels further, creating spaces for the still embryonic Heavy Metal, with the timeless sonorities of Ken Hensley's hammond protagonist, and are reaffirmed in the energetic "Tears in My Eyes", a raw road rockabilly very well coloured by Box's guitar wah wah and brief acoustic chords in between.

Without straying from the path traced by the hard rock roughness, "Look at Yourself" also incorporates elements of progressive rock to give a greater sound flow to their proposal, with the stupendous and growing "July Morning", which goes through introspective and intense atmospheres from the instrumental display of the duo Box/Hensley, the cosmic moog of the guest Manfred Mann and the powerful vocal flashes of David Byron, surely one of the best pieces on the album, and with the complex "Shadows of Grief", which after a fierce first half with the whole band in full swing, plunges into mysterious places with aromatic hints of Floydian 'Set The Controls For The Heart Of The Sun' and into an experimental and psychedelic denouement with Hensley's keyboards.

And after "What Should Be Done", a ballad that doesn't quite seem to fit with the unified feel of "Look at Yourself", the raw hardrock returns with the frenetic and concise development of "Love Machine", leading the album towards a punchy and forceful finale.

"Look at Yourself", despite its lesser impact in the mainstream than contemporary works by bands such as Deep Purple, Led Zeppelin and Black Sabbath, is among the group of albums that helped define the basis of Heavy Metal.

4 stars

But 'Salisbury' goes a few steps further, and adds nuances that give interesting tonalities to the work and somehow help build an identity of their own for Uriah Heep, with delicate pieces such as the baroque 'The Park' and its arpeggiated acoustic guitars over Byron's falsetto voice and the choral whispers of the rest of the band including a brief jazzy interlude, and the lilting 'Lady in Black', a refined folk melody sung by Hensley, who also gives it a notable touch of melancholy with the mellotrons.

And the really disruptive part comes with the extended 'Salisbury', a symphonic suite that departs from the general mood of the album and develops its own path from the profuse wind orchestration of arranger and musical composer John Fiddy, which contrasts with the rock structures and generates huge spaces for Hensley's virtuoso performance on keyboards and above all Box's with some splendid guitar improvisations in the last third of the song and prior to the epic and chaotic closing of one of the band's most progressive songs.

'Salisbury' is a pioneering work in the creation of a new direction in which the energetic structures of hard rock converge with the sophisticated elaborations of progressive rock, and the starting point for the most fertile stage of Uriah Heep.

4 stars

De Graaf left Within Temptation as he wanted to play music which was more challenging, and did so just as the band started to gain international success, and with his wife Judith they created a band which allows her classical training to shine as they move through styles such as crossover and symphonic with some folk tendencies and only rarely into area which could be thought of as heavy, which one may expect given the background. The title is interesting as it is taken originally from an old Cherokee legend, "There are two wolves, and they are always fighting. One is darkness and despair, the other light and hope. Which one wins? The one you feed." It has long been my desire for this to form the basis of my next tattoo, on my forearm, as it is a story I really relate to.

Unfortunately, for some reason the album misses the mark, as while there is no doubting the ability of all those involved it has been polished so much that it misses the mark and feels almost as if the band are playing it safe as opposed to pushing the envelope. It is not a bad album, but it just doesn't feel quite right, as if it has been sanitised. The guitars are good, but not rough enough, the drums often feel basic, the vocals don't contain enough emotion, and then it can get frustrating as there are times when it all comes together and really works which makes the listener feel they are wrong about the whole thing, and then it drifts again. I don't know much about the recording process, but I wonder if they had an external producer or if they did it themselves, as if that is the case then I could understand it. As it is, this is a nice album which hits loads of modern progressive styles but is not as essential as it might have been.

While this may appeal to those who want music with an amazing lead singer but less bombastic and in your face like Nightwish or Within Temptation may find this of interest, but to me it is just too sanitised with not enough passion or drive.

The Volta parted ways with Flea for this effort but lost absolutely nothing in the range of talent on offer here; guitar and vocals are especially brilliant as well as stylistically unique and innovative. The percussion is also an awesome display of capability switching from metal to ballroom at the drop of hat and always coloured with latin rhythms. Like the first Volta release, this is another narrative concept but if anything, it works together in even greater fashion; it is a true classic of the 2000s but is sadly not receiving the recognition it so richly deserves. For this I think we need to reference the accessibility of the album - it is perfectly understandable when people struggle badly to get into something so frantic, complex and dissonant.

The music is constructed of so many textural components that it never fails to provide meaningful impact response at all levels and right across the full range of instruments. This is most especially enhanced by the vocals being delivered with enormous levels of passion and the guitar that is never afraid of sounding ugly in order to get the message across. With complex rhythm and a well delivered dose of orchestra there is everything you need to ensure this one is first choice when it comes to making your desert island discs selection but only once you have managed to stay the course to digest it - you are going to need a huge appetite though.

The lyrics are immensely complex, not least because they are a mix of English and Spanish but they can be baffling in both languages and provide the avid prog fan with another layer to focus on, listen after listen. The theme of the album needs that raw edge to the production which really sits well with the textures to create the enveloping emotional experience and a meaningful journey. As far as the album's progressive nature; it really is extremely difficult to imagine something that is more progressive which is perhaps the main reason this work is under appreciated. The longer tracks versus Deloused do give the listener more time to access the material but the high levels of dissonant guitar, obscure lyrics, heavy jazz and latin influence all contribute to making this work one of the most challenging there is. It is fortunate that there are a couple of great riffs and mind-boggling stylistic shifts because those sections are easy to love which generates a real need to return to the album. It is only on repeated listens that appreciation of the other more complex, less accessible sections becomes possible, so without them, many might discard this work without giving it a fair crack.

They really don't get much better than this and it sits right at the top of my list.

Songs like "Deadwing" and "Arriving Somewhere But Not Here" suggest a shift between dimensions, as if the character were stuck in a limbo or were a specter wandering through memories. The feeling of displacement is reminiscent of Haruki Murakami's literature, where reality touches on the surreal.

The lyrics of "Lazarus" are an example of introspective and poetic lyricism. The metaphor of the character who "awakens" refers to the biblical myth of Lazarus, but also provokes a reflection on mortality and memory. "Halo" criticizes religious and social hypocrisy with sharp irony, referring to satirical authors such as George Orwell. Meanwhile, "The Start of Something Beautiful" tackles themes of love, addiction and disillusionment with an emotional charge reminiscent of the melancholic prose of F. Scott Fitzgerald.

If Deadwing were a book, it would be a dense psychological novel, with a plot open to interpretation and a protagonist haunted by the past. Its melancholic tone and its references to the supernatural and existentialism bring it closer to Gothic literature and magical realism.

How is it? Well, it's resolutely OK, but not better than OK. Like most Rush live releases of the 2000s, it's somewhat overlong and is a bit too keen on including audience noise, and Geddy's vocals aren't what they used to be. Everything is deftly and precisely performed, save for those moments of vocal shakiness, but on the other hand it doesn't quite land like archival live performances that have been creeping out from their heyday through recent reissues. If you want a lot of live Rush, sure, this is fine. If you want the best of live Rush, I'd look to releases from substantially earlier in their illustrious career.

We, the people who love music, must feel lucky enough to be attached to this art, not only because it is endless, but also because it has so many faces. I am happy to have been introduced to Karmamoi by Mexican fellow music lover Rosy Sánchez, because this band has been creating high-quality music during the last 15 years or so, sharing progressive rock with in which we can find hints of symphonic, neo-prog, RPI, classical music and more.

Karmamoi released in 2023 this magnificent album entitled 'Strings from the Edge of Sound', which features five compositions from their previous albums but re-arranged with orchestra, plus four (at that moment) new and original tracks, so it is a daring blend. The introductory song is 'Black Hole Era' whose first couple of minutes are quite soft, tender, with electric guitar and vocals, then new elements are being added, like percussion, bass and keyboards which also add the orchestral sound. There is the leading vocals but I love the backing vocals, creating a quite emotional atmosphere. The journey continues, the orchestral arrangements provide beautiful atmospheres which wonderfully complement the rock element, which comes in a more evident way in the last minutes in which a heartfelt guitar solo appears.

The first re-arranged song here is 'Nashira', the oldest composition here taken from their 2016 release 'Silence Between Sounds'. Piano, voice and a violin enter in a delicate way and then after the first minute drums join, it is a ballad-like track very charming to our ears and senses, however, at minute two there is a sudden change, tension is implemented and a new rhythm begins. The acoustic guitar and bass make a great job guiding the sound into our veins, while piano, keys and vocals hit us when the time is right. Of course, the work of the drums is crucial for this song's success. As normal in a prog rock band, they deliver different changes in mood and tempo whithin the same song, cutting it in passages, in chapters, which is great. Some Marillion nuances can be perceived not only here, but I believe in several Karmamoi's songs.

'Take Me Home' brings the same formula of the first moments, piano and voice in a delicate way, and then little by little the other elements are being added. The strings and orchestral arrangements are delightful, they bring a new colour palette, so the music is not only that, I mean, here we can see images, paintings, we can hear stories, book pages, so it is a rounded form of art. While the minutes pass, the music becomes more emotional, you can tell by the voice but also by the instrumentation. The work is delicate and dedicate, because with the rearrangement I believe they reached new places, new inner-worlds the band itself might not have discovered before.

'Tell me' is the second new track from this album and one of the let's-say short compositions. Though it might be catchy, I am really impressed by how detailed Karmamoi are with their music, I mean, while listening to it with good headphones you can appreciate the massive nuances and textures they bring, creating a vivid and colorful experience that satisfies the senses and the souls. This is a very good composition indeed. The last instrumental part is beautiful, guitar solo and those emotional keyboards produce a blissful sound,

A step-back to 2021 with their acclaimed 'Room 101' album, now they took that self-titled track to reimagine it with the orchestral arrangements and the result is wonderful. Guitars, strings, a delicate beginning, then vocals, bass and finally drums join and the song explodes at 1:30 adding a kind of gothic or obscure element, which spreads their creativity. More intensity is brought at minute three, one can feel the power and even want to move our heads and body, the guys know how to hit us with their salad of sounds and emotions.

'I Will Come In Your Dreams' brings piano and voice since the very first second, I imagine myself being in a small theatre or bar or cabaret embraced by a sense of intimacy and privacy, where I can close the eyes and let the music do the rest. Karmamoi brings charm here, so it is up to us to take it or let it pass.

A great contrast comes next with the amazing 'Your Name' whose strings arrangements make an impact since the very beginning. We feel the power, the energy, the aura of the track. A neo-prog feeling is released here and to my ears, this is one of the finest compositions (and re-arrangements) of this album, or at least one of my favorite moments. I love the tension created, the sensation of might, how they play with the atmospheres and even create a kind of spacey / psych-rock nuance. Impossible not to feel excited with a song like this one, so challeging, so refreshing, so emotive.

The last part of the album comes next. First it is another look back to their 2021 record, with the rearrangemen of the epic 'Zealous Man'. Yeah, maybe they use to bring the same formula at the start, cause here we can hear piano and voice in the first minutes, just like in previous songs, so why not repeating the formula if it works? Well, a minute later the song makes a first explosion, the great drums appear and also those emotional orchestral arrangements provide once again, colorful textures. I like a lot the voice, sometimes clean and sometimes with an effect that appear to be far, still, sounds very close. Another thing I like a lot is that I really enjoy both, the instrumental passages and the ones with vocals, a balanced stance. The prog element is always present, changes in time and mood, artistic lyrics, great musicianship, among other things.

And this album finishes with its title-track, 'Strings From The Edge of Sound', a two-minute ending with a soft and tender sound that provide a clear sound of goodbye. It flows, let us take a deep breath and then, it vanishes.

Hope you enjoy the journey as well.

After SHYLOCK folded, Frederic created a band called PHILHARMONIE, and their final release from '98 "Le Dernier Mot" is another top three for me when it comes to Frederic's recordings. When that band broke up he then created YANG, which has lasted the longest(20years!). And it's their debut called "A Complex Nature" that would be my final top three from L'Epee's recordings. All of his music up until this 2024 release called "Rejoice!" have been in a very similar style. You know what your going to get in other words. Until now.

This came well advertised that YANG had turned from being almost an all instrumental band to being a vocal led band. Of the 13 tracks, 10 have vocals. It's really surprising to see lyrics, and a lot of them in a YANG liner notes. They brought in Carla Kihlstedt from SLEEPYTIME GORILLA MUSEUM to be the main singer. Laurent James, the second guitarist also adds vocals. He's not really a singer, but it works. Other than their debut which I mentioned is my favourite, they have had a steady lineup with no changes. That debut featured a different rhythm section. This is a long one at 79 minutes, so when it comes advertised as being a grower, I knew I had my work cut out for me.

Frederic composed all the music and wrote all the lyrics. I feel like he composed differently on this one as a result of the focus on the lyrics. He said he composed with Carla's voice in mind. I have yet to warm up to this one. I know I'm not the only L'Epee fan to say this. This is different. It will be interesting to see if they continue to be a vocal led band now going forward. There's so much to enjoy here, but man I'm so on the fence with most of the music here. Like others, I have to mention the first instrumental "Concretion" as being a favourite. It reminded me of RUSH early on for it's power which is contrasted nicely with the more relaxed sections.

The title track deserves a mention, but more for the lyrics which I think are pretty cool. Man are those synth guitars on "We Are Heralds"? It sounds so much like "Discipline". I like the instrumental section to end it. I'm not big on the guitar style on "Light As A Cloud". Reggae comes to mind. And how about "Fire And Ashes" which sounds like a CARDIACS cover. I will admit to feeling like Carla's vocal style is an acquired taste. I mean she comes from an Avant band and often sings in that style which I'm not into. So those first two tracks were telling for me with those vocals. Which is probably why the instrumental "Concretion" at track three stood out so much.

I knew this was a risk, in fact I changed my mind about getting this a few times. Thanks for all the amazing music Fred! You've had quite the career following in Fripp's shadow. But this is where I get off.