ECLECTIC PROG

Jupiter Fungus, the Greek band, made an outstanding debut with Garden Electric . An unknown band until 2024?at least outside of Greece, but formed by musicians of substance and experience. It is actually a duo consisting of Ares Papatriantafillou (vocals, keyboards, guitar) and Fotis Xenikoudakis (flute, tin whistle), joined by George Papageorgiou (bass, acoustic guitar, glockenspiel), George Emmanuel (electric guitar), and Nick Vell (drums).

Jupiter Fungus sounds like everything we've ever heard from the purest prog rock?reminiscent of early Focus, Camel, Pink Floyd and Jethro Tull, but also Van der Graaf Generator and countless '70s bands that we love so much. However, they also bring their own local touch, reminiscent of Aphrodite's Child. Their members originally played in the stoner band Father Sun, adding another layer to their background.

The album is full of dynamic shifts, extended instrumental passages, and a blend of acoustic and electric textures. The flute, played by Fotis Xenikoudakis, is one of the defining elements, giving a very pastoral, early Jethro Tull feel. But they don't just rehash old sounds?there's a subtle modern touch, especially in the way the keyboards and synths are used. The production is organic, almost like a live session, which works in favor of the vintage atmosphere.

The album opens with "Underdog" setting the mood with atmospheric keys and a slow, evolving structure. It has a bit of a Floydian feel in the beginning but builds into something more complex, with swirling organ and flute interplay. The guitar solo near the end is a highlight, with an expressive, almost Gilmour-like touch. "Circles" is the longest track on the album, split into four parts. It's a true exploration of progressive rock's capabilities, starting with a calm, almost hypnotic feel, driven by soft, repetitive piano lines and light percussion. The pace gradually picks up as the track moves into more intricate territory, with constant shifts in time signatures and a mix of acoustic and electric instrumentation. "Past Ground," The third track introduces a slightly darker tone compared to the previous songs. The opening is moody, with a slow, brooding bassline setting the mood. The keyboards take on a more atmospheric role here, providing a rich texture that complements the heavier, more deliberate pacing. The percussion is particularly notable, creating a sense of tension as it gradually builds. And finally my favorite track "Thoughts of Revenge", is an epic in its own right, with the band pulling out all the stops for a grand finale. It opens with a steady, reminiscent of early Camel , building instrumental section, of classic prog rock, where layers of keyboards and guitars weave together seamlessly. The lyrics (if you follow them) explore themes of regret and reflection, adding a personal depth to the piece. The midsection features some of the album's most intricate playing, with shifting time signatures and tight, complex rhythms. The flute takes on a more whimsical role, adding a sense of contrast to the heavier sections. The final minutes of "Thoughts of Revenge" are pure prog grandeur a , with a massive instrumental build that leads into a powerful, cathartic conclusion. It's a fitting way to close the album, with all the elements of Jupiter Fungus' sound on full display.

Garden Electric is a fantastic debut that will appeal to fans of classic prog rock as well as those looking for a more modern take on the genre. Jupiter Fungus proves that they have the musical chops and vision to craft expansive, intricate compositions that captivate from start to finish. Beyond their influences Jupiter Fungus it is a very original and unique band and the key it's on the taste and how you mix those elements.

The follow up to the somewhat lightweight Cured LP saw Steve Hackett still tying to give Charisma the hit single they appeared to be demanding.He succeeded-sort of with "Cell 151" which reached the dizzying height of 66 in the UK singles chart for about 2 weeks.Clearly Hackett was not cut out as a hitmaker.As for the attendant LP Highly Strung the good news was that it was much more Proggy than the previous album.Although it was essentially just Hacket and Magnus as with Cured, this time they had Ian Mosely(Yes-that one!) on drums and what a difference it makes to the overall sound.

The opening track"Camino Royale", although a farly conventional song, opens and closes with some very Prog instrumentation.Hackett clearly loved this song as it oftern featured in his concerts.There are a few rather Poppy tracks as well as Cell 151, including "Walking Through Walls" which unfortunately relies a bit too much on the very 80's gated drum sound and "Give it Away" which is actually a prety decent track and reminds me of the sort of song Trevor Rabin led Yes were doing at the time .I would say Steve Hackett's vocal were a lot stronger on this album than on Cured.

Apart from "Camino Royale", the real standout tracks for me are the three instrumentals."Always Somewhere Else" is a two hander basically, the first half being a very jazzy semi improvised jam before the guitar takes off providing an uplifting second half."Group Therapy" is superb guitar-keyboard fusion fest which goes through several themes.It is easily the best track on the album-certainly the Proggiest.The closing track "Hackett to Pieces" reprises the opening and closing instrumental themes off "Camino Royale" with another burst of aggressive Prog Rock.

Overall I feel the album is only slightly compromised by Hackett's obvious attempts to get more Commercial but I still rate this album highly.

4 stars

Overall this new direction did not automatically have to lead to a sub-standard album.The main problem is he made a couple of mistakes in the presentation of the album.Firstly he decided to not use his wife Kim Poor for a cover unlike all his previous albums and go for a photo of himself enjoying himself with his cure (Cured-geddit?) near a beach.Hmm-shades of Love Beach by ELP....Not only that but like the ELP album he front-loaded the album with a couple of fairly straightforward :"Pop" songs.Not something we expect of this guitar hero.Ofcourse the very light production compounded by his fairly weak vocals and the dreaded use of drum machines made for a fairly underwelming experience for the listener. Fortunately and the truth is Cured is actually quite an enjoyable album in many respects.The songs although with one notable exception not even remotely Proggy, probably arranged to suit his limited vocals are actually quite engaging in their own way.The notable exception is "Overnight Sleeper" which features a particularly engaging Latin style instrumental section showcasing John Hackett's always superb flute playing.The album also includes the dramatic "The Air Conditioned Nightmare" which is one of his best instrumentals.

Overall while not an essential album it is still worthy of 3 stars

At first glance- and listen, Defector seems like it is joined at the hip with Spectral Mornings.Similar artwork, same line up and so on.Also as with the previous album Defector is conceptual in nature making references to the uneasy truce between Russa and the USA at the time it was recorded. It opens with"The Steppes"- a terrific brooding and slow burning instrumental showcasing his unique guitar style as well as some fine flute playing by John Hackett.The next track "Time to get Out" is a fairly straightforward rocker but nothing more.The next track, "Slogans" is another excellent instrumental showcasing Hackett's unique style.The whole band is on fire on that track."Leaving" is a fairly straightforward acoustic song and the closing instrumental track on side 1 "Two Vamps as Guests" showcases Hackett's nylon string playing while referencing the opening track.

Side 2 starts promisingly enough with "Jacuzzi" another sprightly and melodic instrumental featuring more excellent flutework.."Hammer In The Sand" is a yet another instrumental this time showcasiing Nick Magnus's keyboard skills."The Toast" is a pleasant song with a particularly beautiful symphonic instrumental section clearly iunspired by Classical Composer Satie. The second last track "The Show" is a surprising;y upbeat with a baseline making it sound a bit dangerously close to Disco for my liking.The closing track "Sentimental Institution" is one of those oddball tracks Hackett is so fond of, this time a cod 4o's crooner using the optigan to create the old school sound.

Overall I have mixed feelings about this album.Parts of it -mainly the instrumentals are flat out brilliant.The songs are a bit pedestrian to be honest but given that half the tracks are instrumental and really do showcase both Hacketts and Magnus so well this is another essental Hackett album

5 stars-just

Listening to Dominic Sanderson's latest album, ' Blazing Revelations' is like stepping into a prog time machine. This album proudly displays its influences, drawing deeply from the wellspring of titans like King Crimson, Genesis, Van Der Graaf Generator, and Gentle Giant. Yet, it never feels like a mere homage; instead, Sanderson creates a listening experience that is both nostalgic and surprisingly fresh.

From the very start, the dark, opaque mix sets the tone - a deliberate choice, in my opinion, that gives it that authentic "vintage" feel. The production is a masterpiece of balance: with enough classic analog warmth, but also just enough clarity to let each instrument breathe. The dynamic range here is breathtaking, allowing subtle nuances and explosive moments to shine equally. This attention to detail makes each listen rewarding, revealing new layers and complexities with every spin.

The instrumental choices are simply a godsend for any prog fan. The extensive use of the Hammond organ, mellotron, saxophone, and flute transports you straight back to the golden age. One of the most intriguing aspects of the album is the vocal performance. There are moments when Sanderson's phrasing and delivery channel a raw emotion and anguish very much like Peter Hammill, evoking the theatricality and intensity of the 'Pawn Hearts' era. The way his voice tenses and trembles in certain passages adds extra weight to the album's already immersive atmosphere.

While this is my first approach to Sanderson's work -having not yet heard his debut- it's clear he knows the terrain he's treading on. 'Blazing Revelations' is an emotional and sonic journey, the kind of album that begs to be revisited again and again. Each listen brings up new details, whether in the labyrinthine song structures, the play of light and shadow in the instrumentation, or the sheer expressive power of the compositions.

For those who yearn for the spirit of '70s progressive rock but are looking for something with its own personality, 'Blazing Revelations' is a must. Sanderson not only embraces the past, but embodies it, transforming it into something deeply personal and undeniably captivating.

Music: 5 stars

Lyrics: 3 stars

Execution: 5 stars

Emotion: 5 stars

Production: 4 stars

Artwork: 3 stars

Average: 4.16

Yay! (2023) and Neigh!! (2024) have little to do with the band's usual discography. They blamed the pandemic, but was the real issue that they simply needed a break? Maybe.

Now, Motorpsycho has released their self-titled album?and it's really good. They've paid their dues with this one, delivering a record that's a million times better than their last two.

The band is back on track, with both great epic tracks and strong shorter ones. They shift from a Jimi Hendrix vibe to Soft Machine, passing through Frank Zappa and King Crimson along the way.

The signature vocal style, with that Leslie effect reminiscent of Jerry Garcia, works wonders here. The bass and guitars riff like the best of Jimmy Page and John Paul Jones, while the vintage keyboards? Mellotrons and Moogs add depth and texture.

The record kicks off with "Lucifer, Bringer of Life," an obscure piece of dark psychedelia and proto-heavy metal, whit a great guitar work reminiscent of the guitar tandem of Duane Allman and Dickie Betts from The Allman Brothers Band. This song puts everything where it belongs.

Then come some familiar Motorpsycho staples and instrumentals: "Laird of Heimly" sounds like something off Led Zeppelin III; "Stanley (Tonight's the Night)" and "The Comeback" are upbeat, pop-tinged tracks with a 70s feel; "Kip Satie" is a solo piano piece that serves as an intro to "Balthazar," a trippy psych-prog journey; and finally, "Bed of Roses" closes out the first disc beautifully.

The second disc starts with the mighty "Neotzar (The Second Coming)," the best song on the record. This 21-minute epic blends jazz, prog, and psychedelia, feeling like a continuation of NOX, the great suite from The All Is One (part of the Gullvåg Trilogy).

At times, the album feels like it could be a concept record, with recurring musical motifs and an overarching sense of cohesion. While not officially labeled as one, there's a clear structure tying everything together, making it more than just a collection of songs.

The pop-driven "Core Memory Corrupt" offers a moment of lightness before the album's final stretch. "Three Frightened Monkeys" is another standout, stretching nine minutes with a hypnotic, evolving groove. And then comes "Dead of Winter," the perfect closer?melancholic, grand, and reflective, bringing the album to a powerful and fitting conclusion.

With Motorpsycho, the band has proven once again why they're one of the most consistently adventurous groups out there. After a couple of missteps, they've returned with a record that reminds us exactly why we fell in love with them in the first place.

1. "From the Weeping Cradle" (12:00) opening with a clavinet motif! If that doesn't impress, I don't know what does! Tristan Apperley bass lines, Embiye Adali's infrequent mellotron "rests" coupled with Dominic's complex guitar and Jacob Hackett's syncopated drumming then take us through the second motif--about 90 seconds--to the two-minute mark where the band smooths into a forward-moving WOBBLER/YES-like motif. The third minute sees the takeover of Dominic's soloing guitar before yielding to Hammond organ, flute, and over the next minute before everybody kind of comes together in a truly YES-WOBBLER fashion: gushing out a full-band weave of complex instrumental lines. Flute, Mellotron strings, and chunky bass take the fore as the band speeds along until 5:45 when the musicians break for a dramatic vocal delivery from Dominic that sounds very much like a Peter Hammill/Matthew Parmenter/(John Wetton)- like Shakespearean actor singing his lines--and he pulls it off respectably! Hammond organ, bass and drums take us out of the seventh minute with a little help from some acoustic guitar. Dominic's doubled-up Hammill/Parmenter voice returns in the eighth minute with some RPI-like harmony b vox but really this is a two-and-a-half minute Peter Hammill School of Dramatic Singing master's degree defense by the remarkable Mr. Sanderson! Full marks! With Honors! (And I'm not even much of a fan of either PH or VDGG!) As good a s (maybe better than?!) the founder himself! The VDGG music that fills the rest of the tenth minute and then continues into the fully instrumental eleventh (to the song's end) is remarkable for both its mature prog sophistication as well as its spot-on replication of all the skill and compositional intricacies of the music of the great prog gods at the peak of their powers: YES, VDGG, Crimson-- they're all here! Well met, Mr. Sanderson! (24.5/25)

2. "Faithless Folly" (10:27) reverb/chorused electric guitar notes and slow strums, allowed to decay slowly, open this song, occupying the first 90-seconds of the song. Then manic-whispering voice enters with minimal syncopated muted guitar notes and, later, a growing host of supporting instruments (including saxophones) and voices working their way into the weave, until a pause at 2:38 opens the door for a DAAL-like Crimsonian-VDGG motif in the fourth minute. With this style of saxophone worked into the weave, this could almost be SEVEN IMPALE. Then--big surprise--we get a motif at 4:00 that is uniquely jazz-rock-infused prog that sounds unlike much I've ever heard--maybe Ambrosia, Orion 2.0, Kevin Ayers, or Blood, Sweat & Tears with hints of Patrick Moraz, Motorpsycho, and Be-Bop Deluxe? Brilliantly original! Coming out of the "Gyre of Delirium" we finish the song while sitting in the middle of a circle of a rather amorphous "gathering" of disjointed and disconnected instrumental sounds--sounding as if each musician is sitting on a rock around a campfire, facing away from the central fire, each tuning or working through some fresh ditty or mathematical problem on their own instruments, in their own minds (and universes), totally oblivious to one another much less their surroundings. Interesting! Though not my favorite song on the album it is worthy of high praise for its inventive creativity. (18.5/20)

3. "A Rite of Wrongs" (6:19) opening with crackling fire sounds and dated "original" Mellotron single note sounds (seven seconds or less, of course), Dominic seems to be offering a tutorial/étude in 'tron mastery. But then two gently picked acoustic guitars (R & L) enter to bookend Dom's full-frontal vocal. The style and content of his vocal is so anachronistic: it makes me feel as if I'm watching a theatric stage performance at some summer Renaissance Faire, listening to a bard singing his heroic story around a campfire. The whole soundscape is fully anachronistic prog--as if without electrification! There are even theatric "monster/troll" noises in the fifth minute. The folk vamp with flute, guitars, violins, mandolin, and hand percussives taking us out is extraordinary! Again, amazing work, Mr. S! (10/10)

4. "Lullaby for a Broken Dream" (16:17) opens with some acoustic folk guitars and like-styled singing before Mellotron strings chords take over for the voice alongside the strumming acoustic guitar. At the one minute mark drummed toms and electric bass join in, supplanting the 'tron for a bit before guitar chord play and 'tron strings chords join. By the time the second minute is underway there has been a huge shift both sonically and stylistically as full-on VAN DER GRAAF GENERATOR with Peter Hammill-stylized vocal burst forth. The complex, ever-shifting musical landscapes feel like one is flying over rugged mountain warscapes. At the four-minute mark the copter lands above a piano-peaceful lake for a bit before a VDGG bridge transfers us into a bucolic patch for a pensive walk around the Ant Phillips lake. Dominic's voice here is now more like that of At 6:35 there is a guitar strum that calls forth the Mellotron strings over which Dominic sings in a spoken-almost whisper about his broken dreams. This empties out into another bucolic early-GENESIS Swiss mountain pasture where the protagonist perambulates rather sudden-and-unexpectedly into a scene fraught with fearful noise and images. From there we're back into the tension-filled VDGG world as the tenth minute opens and unfolds. I hear RPI as well as a little JTull in the ensuing motifs--none of which last much longer than 30 to 45 seconds before we've switched channels to view a different aspect of what feels like a battle--though the main "battle scene" in the 12th and 13th minutes sustains itself for quite a VDGG little. Vocal and strings bridge at the end of the 13th minute leads into a bluesy-rock piano-supported electric guitar solo (left ear only). Quite a nice patch--the battle seems to have resolved and left the camera crew with a powerfully sad scene of death, gore, and peace. This is how Dominic chooses to let us out of his dream: with a long fadeout of this ambivalently triumphant and mournful and despondent motif. Nice work, Mr. Sanderson! Prog at its finest! (29.5/30)

Total Time 45:03

Since Dominic's last (and first) album he has obviously been to the Peter Hammill-Van Der Graaf Generator School of Progressive Rock Music as so much of this album--both musically and vocally--has come out replicating the styles, palettes, and tones of the 1970s' masters of dark prog. (And he's almost totally skipped over the VDGG 2.0 sounds and stylings of the other great master imitator of PH/VDGG, Matthew Parmenter/Discipline!) Though I do not include myself in that club of Peter Hammill, Van Der Graaf Generator, or Discipline devotées, I really love and applaud the music on this album. It's like a perfectly -engineered and -produced amalgamation of all that was best of the early 1970s done with an enthusiasm and mastery that the Early Masters didn't have the equipment and/or technology for. If I or anyone else was harboring any doubts about the seriousness of young Dominic's commitment to adding to the lexicon of Prog's Valhalla, cast them aside! The man is a fully-devoted, passionately-committed disciple! With Blazing Revelations it appears that he's even ready to teach us a few things!

A/five stars; a totally-impressive masterpiece of progressive rock music of a level that rivals anything that the Masters of the "Classic Era" ever achieved! (This is one of the top ten highest rated albums I've had the privilege of hearing from this, the 21st Century!) Between this release and those of Chilean band Chercán and the latest of Riccardo Prencipe's Corde Oblique, 2025 is off to a really nice start!