1. Time to Turn the Page intimate beach to set the scene with the warm, dark organ 2. End of Their Road with this latency which takes me back to the works of Jeff Buckley for the decadent, melancholic rock air, full of sensitivity 3. Harbinger of Sorrow and 4. He's Not Me give off a lively, flayed atmosphere, on a redundant spleen crescendo, the Floydian guitar on a squeaky slide guitar 5. Black & White on a mid-tempo which leers on the depressive moribund air between Cohen and Gilmour; but it is indeed Kristoffer's voice to give a feeling of warm twilight coldness 6. Down We Go for the first of the 2 long pieces, a soft, ethereal crescendo with a fabulous guitar solo as the climax that would make the great David pale; sublime piece, especially if the person no longer plays Floyd songs.

7. Turn It All Around with a fluid sound, frolicking on the works of the Magyar Posse; musical poetry, languorous violin, a nugget that eyes its rise towards a cheerful Philip Glass 8. Means to an End for the spine-chilling symphonic climb 9.Beautiful Decay piano and slide guitar from Louisiana, dark folk rock again, yes it is by going to the depths of the bayous that we can find hope; the organ helps, the violin too and we start dancing arm in arm to ward off bad luck; title to listen to in good mental condition 10. The Brittle Man for the paradoxical title with its symbolic climb onto a musical scaffold, or how to associate black with hope 11. Saturated changes register, the invasive Floydian choirs helping to put you in a trance, the tune with its haunting rhythm flowing endlessly and the keyboard adding a few touches of clarity 12. Empty for the second big title with the fleeting tune that reminds me of one of Alan Parsons, fast but focused; the latent prog intro that 'kills', the one that I loop 3 times before letting the title go further; Kristoffer signs the invasive piece with his voice, the air swirling; the crescendic rise 'finally' explodes the album which I found monotonous, too sinister, even if that was intended; the solo, the solos that emerge from Paul, Marcel and Patrick make me regret that there was not musical light of this kind earlier; in short, slap this last piece.(3.75)

Initially soaring, acoustic prog rock, reminiscent of Floyd, this group evolved under the influence of Dave, its progenitor; over time the sound expanded and Rosanna brought the progressive range to the top on the post- covid 'Aura' . Why this preamble, but because Linda, her next, also has a very beautiful voice which fits admirably with the IO Earth sound!

this album has metallic power, progressive breaks, intimate prog folk variations with passages of saxophone, flute from Luke; Adam launches crystalline and solemn scales of borderline grandiloquent piano and Dave calmed down by distilling his devastating solos at the right moments without drowning us with super guitar-hero notes. An album that can be listened to smoothly, without latency, from which I will highlight 'The Child', 'Changes' and 'Sunshine' for this intense work between delicacy and fury.

An album more prog metal than crossover but a very good album that should not be forgotten and which will last in their discography. (4.5)

— First review of this album —

While I dive into Santana albums from 1972 to 1987 on 2 compilations of 10 CDs, ratings will come after each 3-4 listnings of each album, maybe some comments aswell. This compilation have releases from 1978 to 1987, issued in 2009

First spin - Inner secrets from 1978, not bad at all as many pretend to be, really, like it from start to finish, pieces like Dealer / Spanish Rose or Stormy with superb guitar solo by Santana and some very cool vocals by Greg Walker- 3.5 stars for sure

Marathon - 1979, again 3.5 stars is famous for great instrumental Aqua Marine for good reason, another highlights another instrumental Marathon or Lightning in the Sky. Very nice guitar work , no worries for me about if is or not a Santana album as sound and atmosphere.

Zebop - 1981! -3.5 stars for sure, another worthy Santana album but here things move slightly to some more mainstream AOR direction but still Santana sound is here like on E Papa R�, and instrumental ones are in front here like Tales of Kilimanjaro or Primera Invasion. Nice one

Shango - 1982 - 3 stars - Now Santana on some pieces sounding like Journey same period like on Hold on or Nowhere to Run, while instrumntal Nueva York stands as highlight. Still ok most of the time, Shango is kinda easy listning compare with older material, but not bad at all really at least for my taste.

Freedom - 1987 - 3 stars, this is typical 80s mainstream rock album with some latin, pop rock and R&B sounds. Again overall forgettable release for Santana, but not entirely dull, there some very cool moments like instrumental Mandela or the opening Veracruz, the rest are unintristing but not that really bad.

So, from this period for me Inner secrets from 1978 is the winner for sure and overall compilation is a worthy one to have. 3.5 stars

Review N� 775

Brand X is a British progressive rock band that was founded in London in 1975. Brand X was a jazz fusion band active between 1975-1980 and 1992-1999. The members included the noted Phil Collins (drums), Percy Jones (bass), John Goodsall (guitar) and Robin Lumley (keyboards), besides many other musicians that collaborated with the band all over the years. Brand X recorded and released their debut studio album "Unorthodox Behavior" in 1976. The album was positively received by the jazz/fusion fans worldwide. Afterward, the band hit the road for multiple tours in the UK. In 1977, Brand X recorded and released their sophomore studio album "Moroccan Roll", an album also very well received.

"?Featuring Phil Collins" is a compilation album with thirteen tracks that was released in 1996. It comprises tracks that belong only to their first two studio albums. So, from "Unorthodox Behaviour" we have "Nuclear Burn", "Euthanasia Waltz", "Running Of Three", "Born Ugly", "Unorthodox Behaviour", "Smacks Of Euphoric Hysteria" and "Touch Wood". From "Moroccan Roll" we have "Hate Zone", "Sun In The Night", "Why Should I Lend You Mine (When You've Broken Yours Off Already)", "...Maybe I'll Lend You Mine After All", "Malaga Virgen" and "Macrocosm".

"Nuclear Burn" is a great track where Collins and Jones erupt in unison. Phil and Lumley enter to introduce us to the song and Goodsall who, together with Lumley, exudes a wonderful solo. The 70's jazz fusion flavour is perfectly audible here. "Touch Wood" opens with intricate guitar as piano comes in. It's a piece with a great delicacy where Lancaster's nuances with his soprano sax the Goodsall's acoustic guitar and the Lumley's keyboards, which fill us with warmth, especially at the end of it. "Hate Zone" begins with a solo by Collins that kicks it for several seconds. Jones then joins in on the euphoric piece, followed by the rest of the band. This is a very hard grooving track that clearly moves towards the jazz rock style. "Euthanasia Waltz" is a calm track. It follows the repertoire with a melodious and dynamic piece that finds Goodsall playing captivatingly and where the acoustic guitar is the dominant instrument here. Collins and Jones' cuts are stunningly precise. "Running Of Three" is a piece where the band makes a rhythmic melodic experience. It's a fast track where bass and drums play intriguing roles. Keyboards share the melodic work with a guitar solo of rock in the middle. The overall impression is a jazz jam piece. "Sun In The Night" is a laid back piece, one of the few pieces of the band that has words. It's a very rewarding track with some pleasant sitar and great, spacey vocals from Collins. The intensity grows as the song progresses. This is a peculiar, but yet fascinating piece of music. "Born Ugly" is a groovy number where the band shares a bit of funk without getting too far apart. It can be best described as improvisation session music with a structure. The middle part is a bit psych as the band weaves a large soundscapes with growing intensity. "Why Should I Lend You Mine (When You've Broken Yours Off Already)" is an excellent instrumental full of surprises ranging from its varied dynamics to the curious percussion and the always virtuous and extended sound of Jones's fretless bass. Lumley and Goodsall's solos move within an environment where everything seems to levitate, really. "...Maybe I'll Lend You Mine After All" is a brief piece, a slow track, a logical continuation of the previous track. It could well be the coda of the previous one. Both parts give a lot of atmosphere to the track. "Unorthodox Behaviour" is another piece that sounds like an improvised jam. It begins quiet and even hesitating and builds up a tension that it's broken up suddenly by Phil's drumming. A dialogue develops between the guitar and the keyboards and where bass and drums occasionally pop in. "Malaga Virgen" is one of Brand X's greatest tracks ever due to its complexity and the way it holds together as a piece. It switches between the fast and slow, and the loud and quiet parts. The interplay is exceedingly virtuosic, especially the solo segments by Jones and Lumley. "Smacks Of Euphoric Hysteria" is probably the least euphoric songs in the all repertoire of the band, but it's highly attractive too. It has a slow groove. There's an obvious intention to give to each musician the same time in the centre spot but Phil's drums are in the front, really. "Macrocosm" is a celebration of the fusion genre, being intricate and uplifting and a showcase for the individual skills of all musicians. It shows why Brand X has been one of the jazz fusion bands with great relevance for so many decades.

Conclusion: "?Featuring Phil Collins" is a very good compilation album of Brand X. It has some of the best tracks by the band. However and despite of that, we cannot say that "?Featuring Phil Collins" is a compilation album very well representative of Brand X because, as I mentioned above, it has only tracks that belong to their first two studio albums. This is pretty evident if we look to title of it. Who are used to with the entire career of Brand X knows that Phil Collins only participated entirely on the first two studio albums of Brand X, "Unorthodox Behaviour" and "Moroccan Roll", due to his commitments with Genesis when he replaced Peter Gabriel in the vocal role. Anyway, "?Featuring Phil Collins" is very well representative of that period of the band and represents an excellent intro to the band and their great music.

Prog is my Ferrari. Jem Godfrey (Frost*)

A different RPI, younger, modern, with a more accentuated rock connotation, aggressive instrumentation and incisive breaks, without denying their original sound. When the RPI allows itself to evolve and not stay within its singular constraints, we have this album which puts a good dent in the anthill and gives new prog blood to this musical genre which can produce very beautiful things; less jazzy variations, more rock and this RPI sparkles with joy for this new decade. Creativity is good for forgetting that this group started in the 70s!

Lanzetti always sings very well with a depth which seduced me, the orchestration is therefore more rock and honors Anglican prog rock, perhaps their transalpine friends will hate them for precisely that? The album has less classical wind and string instruments and allows to give musical pep, musical novelty which should keep them in the ears of today's progues.

Ancient Veil was founded by Alessandro Serri and Edmondo Romano in 1995 after the killing of Eris Pluvia. A music with folk, jazz and classical roots is marked, especially a sound that smells of the RPI with saxophone and classical wind instruments; in good French I immediately return to Angelo Branduardi and his folk, medieval tunes; I am thinking of the well-known Rond� Veneziano who did not hesitate to cross the rubycon of variety to give an overview of what Italy could create as a genre around baroque, rock and classical; yes some will cry foul but Ancient Veil remains in the RPI straitjacket with the primarily orchestral, jazzy, folk, cottony sound giving pride of place to flutes and other saxophones. Quite diverse but also boring in fact because it remains in this niche from the beginning to the end of the 18 titles without any sequence; yes the low hurts of these titles which lack soul and become remarkably similar over time. To give a more positive note, listen to 'La Nuova Aurora' the last track with a fabulous energetic guitar solo which makes me say that a little more of this rhythm in the album would have been beneficial. Those looking for a little novelty will be left wanting, those who like this vein will undoubtedly find this album perfect, but will not be objective. (2.5)

4.5 - Pure Arjen's fun

I've been a fan of Arjen Lucassen's music for twenty years now, first discovering his work through Ayreon's 'The Human Equation' and then backtracking to albums like 'The Final Experiment' and 'Into The Electric Castle', still favorites of mine to this day. I've followed all of his projects since then, and enjoyed them all, as while each one explores a different avenue of his musical vision, they all share the same basic DNA. Supersonic Revolution is his latest venture, and it's a case of false advertising in some ways, as I was led to believe this was some sort of campy glam rock album. Lyrically, this act are all about immortalizing their 70s youth with kitschy lyrics about the good old days, and the basic touchstone here is definitely a 70s hard rock-inspired sound, but it's far heavier and faster than I expected it to be, with a lot of shredding guitars and insane keyboard runs that immediately brought to mind Star One. The fact that vocalist Jaycee sounds a good deal like Russell Allen only strengthens the comparison, although this guy could easily sing for Tygers Of Pan Tang, too. He's got a killer rasp and a hell of a range, and he makes these tunes soar in unexpected ways, just the perfect voice for these bluesy, fist-pumping anthems.

The production is modern and polished like a silver platter, so it certainly doesn't sound like an album you dug out of your father's beat up old record collection from the attic or something. It's also a lot more progressive than you'd expect given the album cover and logo. I'd heard this was like Ayreon doing The Sweet or some [&*!#], and it really isn't. Beyond the obvious prog sounds Arjen brings to the table, the main bands this plays off of are Deep Purple from their 'Machine Head' days and the first three Rainbow albums. Former After Forever keyboardist Joost van den Broek exclusively plays the organ here, channeling his inner Jon Lord, and does a hell of a job of dazzling the listener with some of the most intricate and effortless playing you're likely to hear. Guitarist Timo Somers of Carthagods fame is a real find, laying out these bluesy riffs like [%*!#]ing Criss Oliva in his prime with plenty of cheeky pinch harmonics and shredding like the bastard child of Marty Friedman and Eddie Van Halen. It's a gloriously controlled racket that brings a kind of unruliness that Arjen wouldn't have managed if he'd handled axe duties on this (he serves as songwriter and bassist here).

Song wise, the whole album is dynamite, kicking off with a pedigree banger in 'The Glamattack', a double-bass-led anthemic assault that has some serious power metal vibes, especially during the chorus, which rocks massively. Then we have the hair-raising title track, one of the catchiest tunes on the album, before we're treated to the most blatant Purple-esque track in 'Burn It Down' and the most intricate and proggy cut here, the excellent 'Odyssey'. This one is pure Star One, chugging along with a mean groove and some superb vocal lines from Jaycee. Later cuts like 'Holy Holy Ground' hit the same kind of highs, while 'Came To Mock, Stayed To Rock' injects a bit of humor into the mix, but it's a killer boogie number that closes out the album before we have a slew of covers that are cool, but not really essential. I must say I'm pretty impressed with this. It's been stuck in my CD player for two weeks and it's been a huge pick-me-up during this rainy English winter. Those thinking this is some glam-inspired cringe fest need a blast of 'The Glamattack' to blow back the cobwebs, as anyone familiar with Arjen's work in Star One and Ayreon will find much to rock out to here. Let's hope they produce a follow up.

BANDHADA were a five piece Jazz band out of Chile, a bunch of young guys still in University learning to get better at the music they loved. And really my first impressions were that these were players, very skilled. They also can't sit still as these compositions are about as proggy as you get in Jazz, constantly shifting the tempo, the solo instrument, repeating themes. Adventerous but somewhat light for my tastes, still from the first spin I liked this one a lot. I knew this was special. Annoying when I'm making notes at what I'm hearing because of how often they change things up.

Released in 1984 and there are synths which was my first concern but they pass the test although just barely sometimes. Having said that I do like they way they use them as atmosphere and the melancholic bits. A five piece from Chile! I have so many bands in my collection from this nation but this one stands out for the style of music and the year it was released. A delight for the ears my friends. That bass sounds awesome, the guitar is mostly the Jazz style, quite intricate, fluid, fast at times. Drumming and keys are great then there's the sax/flute man who is like the whip cream on top of this tasty release. Yeah I'm getting hungry.

Hey this band released this sole record in 1984 and before and after it they played live a lot and that comes through on this record. It would have been something to witness these guys. 25 years after this release they get back together with the core trio now living in LA with a new horn dude and drummer and released "Open Cage" in 2009. Crazy thing is that I got that one before this one. I gave that 3.5 stars but couldn't click on that fourth star. Hitting 4 stars here is not a problem it's just too impressive on many levels. So much enthusiasm and with the skills to make it all work so beautifully.

No I'm not describing this music, too much work but my top three are the opener "La Septima", "El Vuelo Del Hada" at track five and the closer "Rompiendo La Soledad". Love the cover art as well. This was a find.

BE BOP DELUXE were quite active in the 70's releasing five studio albums but they never made it to the 80's. "Futurama" is album number two from 1975. They were a trio of guitar, bass and drums and Bill Nelson is the man in control here, the lead guitarist, composer, singer etc. I honestly thought with their band name that they would be all about the humour like OINGO BOINGO but no. This comes across like AOR material, they are tagged as Glam Rock by many. To over simplify it, it feels like your either hearing Bill sing or perform a flashy guitar solo. And this is more than that of course but there's a lot of radio friendly songs and I quite enjoyed my time with this one.

Nine tracks over 35 minutes and how about the first sounds that we hear on that opener "Stage Whispers" as in screaming guitar. The flashy solos will continue on this one. "Love With The Madman" is a top three for me. They slow it down after that energetic opener and the vocals sound different, better. Some emotion. "Maid In Heaven" sounds like a single. "Sister Seagull" is another top three. The melancholy does it for me along with the guitar solos.

"Sound Track" and the closer "Swan Song" are about the two proggiest songs on here which isn't saying a lot. Both the longest tunes here clocking in around 6 minutes. Some orchestral stuff on "Music In Dreamland", some brass. "Between The Worlds" is an uptempo rocker while "Jean Cocteau" is trippy and relaxed and I like it better than the rocker. The closer "Swan Song" is my final top three by the way.

I've seen Bill's name so often over the years so it's finally good to hear him play and sing. A solid 3 stars.

Another perfect Ayreon musical journey

For me "The Universal Migrator" and "The Human Equation" are one of the best albums ever made and definitely those that made me fall head over heals in love with Arjen Lucassen's music. Therefore I had truly high expectations when "01011001" came out. However, the first impression wasn't what I had hoped at all. For one, the title sucks utter crap and the cover art is pretentious at best. Fortunately it so happens that this is a diamond in the ruff, for behind the ugly exterior it lays a true treasure.

There are many reasons why I find this album to be a masterpiece. First of all it is performed by the strongest line-up ever to be seen on a metal album, secondly the song material is pure awesomeness and thirdly it has the purest and most wonderful production. When I first examined the line-up I was very pleased to find names like Jonas P Renkse, Jorn Lande, Hansi K�rsch (Blind Guardian), Tom S. Englund (Evergrey) and Daniel Gildenl�v (Pain of Salvation) which are all great singers, but the unquestionably best recruit in my book is my own personal favorite Anneke van Giersbergen (ex- The Gathering) who totally owns this album. What wonderful vocals which incidentally fits perfectly with this futuristic progressive metal soundscape!

In the end, one must however admit that the line- up wouldn't have been something to cheer about if it wasn't for the songs, or should I say conceptual journey, this album has to offer. The red thread shines clearer than ever before and makes Tobias Sammet's attempts to create metal operas seem like something carelessly wrapped together (which they for the record are not). The material is varied but at the same time glued together with perfect execution and if it had contained a few more heavy parts, like on the opener "Age of Shadows", it would have been a full pointer if I've ever seen one.

In the end I would say "01011001" is quite on par with "The Universal Migrator" and "The Human Equation", making it one of the best concept albums in the history of metal!

4.5 - Excellent debut Coroner is easily one of the most underappreciated thrash bands of the 80's. With R.I.P. Coroner began their career with an excellent album. The band members using their virtuosic capabilities made one of the first technical thrash metal albums and certainly one of the few thrash albums also combining neo-classical shred metal. R.I.P. is a defining debut and also a criminally underrated thrash classic that should be mentioned with the greats of thrash.

R.I.P. sounds like no other thrash album I have heard besides Coroner's follow up Punishment For Decadence. On R.I.P. Coroner play high speed neo- classical tinged thrash riffs with virtuosic leads and solos. The tempo is almost entirely fast paced throughout except on the interludes. An intro a few interludes and an outro give R.I.P. some variety and a nice melodic atmosphere. R.I.P. uses a guitar picking style I have only heard on a few other thrash albums mainly Destructions Eternal Devastation and Coroners next album Punishment For Decadence. The sole instrumental Nosferatu is a clinic in neo-classical shredding and definitely would not sound out of place on an Yngwie J.Malmsteen album albeit the much higher rhythm speeds.

The band's performance is excellent throughout R.I.P. Ron Royce's vocals is the low point for R.I.P. and all of Coroner's future releases he sounds like an early incarnation of death metal growls with a more shouting thrash metal style. Fortunately his bass playing is excellent and his playing style has a similar sound to Steve Harris of Iron Maiden instead of following the guitars he sounds like another lead guitar except lower. Tommy T. Baron's guitar playing is easily the highlight of the album he is extremely underrated and has a very unique style that's all his own. The drummer Marquis Marky is quite good changing rhythm frequently with the guitars and provides many fills and fast double kick bass for the time.

The downsides to this album are few but they are definitely noticeable. The production is the typical raw European thrash style with a murky sound and a very quiet volume. While the interludes are entertaining and useful for atmosphere purposes they could have been combined into the actual songs themselves instead adding more tracks to the album. Finally the second half is definitely weaker it sounds like Coroner ran out of ideas and decided to just repeat the formula from the first half albeit less solid.

Overall R.I.P. is a classic technical thrash assault that is almost always overlooked. Best songs are Reborn Through Hate, When Angels Die, Nosferatu, Suicide Command, and Coma. I highly recommend R.I.P. to any person who wants an excellent piece of technical thrash from Europe.

— First review of this album —

When discovering rock back in the very early 70s as a teenager, the exploding hormones certainly found a haven within loud and crunchy power riffs, being raised on Deep Purple, Sabbath, and Led Zep, to name only the obvious. Yes, banging heads was enjoyable and more fun than taking a sauna to clear out the pores in torrents of perspiration. Fifty years later, the thrill is not quite the same, as a sense of musical subtlety inevitably takes root and the metallic chords sound a bit redundant, only occasionally adding much needed zest to a track. Hence, not a big follower of prog metal, in general but there have been exceptions, such as the Cyberiam, Ghost Toast, Lalu, Leprous, Esprit D'Escalier, and the incredible Hackberry, among a few others. LA multi-instrumentalist Scott Mosher reached out to the Rogue and suggested his new album, which threw all my preconceptions to the wind, and it require a few listening adjustments to really dive into the music, which is described rather amusingly (talk about polarized) ambient-metal but its not pureed or blended into a sonic smoothie but rather well structured into the modern rock sensibility by adding immense daubs of atmosphere that set up the instrumental and vocal onslaught that naturally progresses from one track to the next . Most prog-metal bands use various keyboards on occasion to create organ rushes or huge bombastic orchestrations, but the source is not vintage Tangerine Dream or Klaus Schulze! Oceans of Night (with Alan Smithee handling the kit) offers drum thunder, guitar lightning, the bass very very frightening and Figaro or Galileo manning the magnifico synthesizer onslaught, whilst four guest vocals adding their expanding lung power to the mix. Not exactly Bohemian Rhapsody, but close.

"Servants of Shadow-New Dawn" is a perfect introduction, a rising sun of sequencer-crazy synthesized rays shining through the power chords, rustling into an ever-growing atmosphere, the temperature rising into a new sunlit universe. It also features a keyboard solo from the afore mentioned Vivien Lalu as he duels with Scott, whipping up quite the Hillage-era Gong frenzy. From that moment on, the journey truly begins with a thrilling vocal from Scott Oliva on "Before the Fall" and its choppy/twirly fretboard flurry that will 'open your eyes'. On the flowing "Siren", bubbly synths introduce Nina Hirten's sophisticated voice, acting the part of a bewitching call from the sea, while Scott agitates the throttle into a colossal vortex of spiraling rhythms and leads, as the tension ebbs and then rises like the tidal waves of a nocturnal ocean.

The instrumental masterwork that is "Vast and Infinite" was the exact moment where I really fell under the spell, a moody bass sea serpent slithering along, egging on the other instruments, bright colliding electric guitar expanses merging with the sleek synthesizer colourations in a seamless delivery that fears no reaper, elevating the grandiloquence to epic heights. Thunderous track. Pablo Zuccala handles the microphone on "Closer to the Edge" (pun intended?), with an intricate delivery on a more conventional metal piece, yet still adorned with a fair number of varietal inflections. On the mystical instrumental "Obelisk", the arrangement deviates once again into sonic realms that underline a keen sense of discovery, a highly cinematic platform with contrast, brightness, and balance, tossing some awe-inspiring shifts and technical prowess. Think 'La Villa Strangiato', from the three Canadians proggers.

"Man Clothed in the Light of the Sun" slows down the frantic pace into a somewhat calmer expanse, still threatening in the background, but definitely moodier and more inquisitive, with the focus clearly on the synthesized melodies. A welcome continuation in the onward trek, heading to the title track, where vocalist April Rach seizes the sonic rains with a clever display, as Scott unleashes a torrent of sizzling notes that scour the mind with echoing conflicts. The epic 9 minute + "No Turning Back" is perhaps the highlight of the night, an unhurried, well-structured aural evolution with a cosmic introduction, and the return of Pablo's exalted voice as the haunting choir raises the hair on the extremities. The angelic mid-section is like a mandarin fantasy, an oasis of sweeping synthesizers conjuring a series of flickering mirages in a mind's eye, Scott's glittering fretboard solos becoming the only possible salvation. The accelerator pedal is pressed back into action, returning to another vocal expression that finishes on an ideal extended note. No turning back indeed.

The Aztec god of death "Mictaltecuhtli" governed the underworld, here presented as a skull-fracturing assault on the senses, owl feathers swirling, broken bones, and death-defying leaps into the unknown. Nina returns on "Distant", her superlative vocals spent on long haunting notes within a suavely sung melody and a more accessible, almost gothic structure. A great segue into the final number, the resplendent "Event Horizon", where an electronic arrangement sets up the increasingly fizzy guitar slashes, bubbling into a tornado of shimmering dust, a tranquil disclosure of perception and a truly magnificent culmination.

On the whole, the instrumental parts are all top notch and original, in that its not the same riff repeated ad nauseam, with attention to flow, and intensity, melody and technique. I really enjoyed all the vocalists, as they all differed from the other, a most welcome diversion.

4 brain cyclones

4.5 Another Anthony Kalugin's success with slight jazz rock feeling "Lost Symphony" by Karfagen is like an vintage art rock fairytale - something special for those who loves Camel "Snow Goose" and Gryphon "Midnight Mushrumps". It`s an instrumental album that is divided on to three chapters, nearly 22 minutes each. I can clearly imagine it as a sides of a LP. First chapter: "The Frog, the Beast & the Wizard" - starts from lush keyboards - perfect positive intro to a symphonic poem where different characters and landscapes takes you to the fantastic world of adventures. You`ll find eccentric and flashing pieces like "The Cosmic Frog & the Beast" & "Salvatore". Classical Rimsky-Korsakov style "Orgaria" where Antony has painted a wonderful mellow pastoral with the beauty and variety of electric organ and gentle "China Wizard" by talented guitarist Alex Pavlov. "Sylph" has a really catchy tunes - atmospheric and dynamic at the same time. Second chapter: "Mysterious Stories from the Kite Town" (brings me an associations with a Nosov's world-famous child`s book "The Adventures of Dunno and his Friends") centres around epic track "Journey Through the Looking Glass". It`s an art rock jewel - one of my favourite Karfagen tracks - reminds me outstanding epic "Mystery" from the previous album "Solitary Sandpiper Journey". I would like to emphasize the art work and production of the entire cd. So it`s highly recommended symphonic rock statement.

I'll comment and analyze only and solely the lyrics of this work. I advise that there will be lots of spoilers about it. Ayreon is one of the projects of Arjen Lucansen, and he is clearly and inexorably using it to tell one story per album. Something very interesting about these works is that each character is interpretated by one vocalist. On this album, for instance, there are 14 of them. One briliant feature on this story is showing human being as a divided entity/organism. 8 characters are feelings/sentiments that don't form a cohesive totality. On many occasions, the story narrates the clash and tense dialogue between the feelings of a person in a condition very close to death. This transmits an extremely disturbing mood on this man's situation. The reports from his wife, his friend, and some of his own memories, describes him as someone who always owned himself, his life and his ways. So this is completely new to a usually confident and structured personality.

"You've always had complete control, Never thinking twice. You always called the shots, a heart as cold as ice".

When the man recovers part of his conscious, he is completely unaware of everything around him, and doesn't remember what happened. The first sentiment to appear is Fear, telling him "You're alone, no one here is dancing to your tune". Fortunately, his Reason is confident. But Passion is tuned much more to Fear and Agony.

His best friend is there by his side. [Best Friend] "No, I can't seem to accept these strange conditions. No matter what they say, it doesn't feel right". And so is his wife. "[Best Friend] Do you think he'll die? [Wife] I don't think he will".

But the man is alone with his thoughts and feelings, he doesn't here them, and don't even know they exist. Is it possible to face such extreme situation without external psychological support? How to deal with these questioning and pressing internal voice(s)?.

[Agony] "Surrender now, You can't beat death at his ruthless game. Make your bow Hang your head in shame. I am pain. I am real. I'm not a dream. I'm the chain around your neck as you scream".

"[Me] I can't believe this is the end. [Agony] It's written in stone. [Me] Where are my friends? [Agony] You have always been alone!"

The sentiment of Love is very strong. [Love] "You'll find me here whenever they oppose you. I am the strongest of them all No need to fear these feelings that enclose you. I'm here to catch you when you fall [...] You're not alone, I am here dancing to your tune".

How many of us has this confident and robust love to sustain hope on extreme moments? The love for yourself; the love to live.

It's about time I explain that each track is one day of this chronicle; or some events of each day. On fifth day he starts to listen to the voices around, but don't recognize them. However, what they say doesn't make any sense.

On the following days, you, the listener/reader, gets to know more about his story and the story of some of his feelings. Rage is born very early on his life, because of his Dad's pathological competition: making it clear he was better than him, and making him feel embarassed when exposing weakness. School has taught him some knowledge, and also developed his pride to be determined and spiteful. Because other boys mocked and beat him. On these moments Reason wasn't able to make him ponder the contexto and the use of violence.

"[Pride] See that kid, wipe the smile off his face. [Reason] He's just like you, feeling out of place. [Pride] I don't care, let's show him who's boss. [Reason] That's not the way to get your message across".

On the 10th day of this struggle, even though he demonstrates no reaction or change in this clinical status, his best friend and wife keep talking to that inert body. They don't know if something's going on inside him. Medicine, therefore Science, cannot explain why there is no worsening nor improvement. Both remember moments of love, hapiness and overcoming.

Best friend and Pride: Do you recall that day Fearlessly we climbed the highest tower

Wife and Love: Then you became afraid To scared to climb down you stayed up there for hours!

Passion recognizes something here: "Can you see her light, shining through the black. She's reaching out to you; what's holding you back".

Reason also finds an opportunity and direction now: "Can you feel her warmth glowing on your skin?! Don't repress the memories, let them all in..."

When we think or talk about illness or death, it's almost aumtomatic that the first reaction of our imagination is to picture the body in a war against some disease, and/or the aging of the organismo. But the lyrics on this album, at this point, can lead you to another perception about this process. Perhaps there is also, or maybe exclusively, a psychological conflict; after all, "there is nothing physically wrong", according to the doctor. From the "dark crypts of his soul" the foundations of some of his feelings resurface. Emerging from her mother's isolation after her husband's departure, Agony develops roots: "She went through a life of deprivation. She depends on you, her only son."

After her passing, the ghost of this maternal image and tale remains in the shadows of Fear: with her voice crying out "Where were you, son, when I needed you? Is this your thanks for all the warmth I gave you despite my suffering?"

By this moment in my analysis, it seems coherent to say that the story is not continuous, much less linear. Nor is it completely clear at what time, or from what period, the events are being exposed. I appreciate this approach and method. First, because of the challenge it represents, and second, because it forces the reader/listener to pay attention and think about possible connections and meanings to put the pieces of the puzzle together. There is also another possible advantage to this approach: it can leave some questions, statements and narrative lines open. Well, in the last tracks the lyrics fulfill the function of tying up some loose ends. It was the choice of whoever composed the lyrics - I didn't particularly like it.

On the 17th day the track is called "Accident". It's when the wife reveals, after a period of denial in the face of the "hero's" questionings, that there was an exchange of affection with his best friend. And he, in turn, who was jobless and alone, also gave himself to her. The lyrics in these tracks converge to defend, even in the face of this situation, this tension, an optimistic vision of love. Because after a series of outbursts from everyone, the hero returns to life, willing to love his wife. Happy end.

This is truly a fabulous, full-bodied, intense and profound story about the ways to consider the complexity of human being's and relationships. Top-notch. 4.5 of 5 stars.

I first came across Polis at the time of their third album, 'Weltklang', which was released in 2020. Back then I said how impressed I was with their use of old instruments and equipment but did somewhat wonder how they would reproduce everything live. I guess the best way to for this to happen is to take large amplifier walls, rotary speakers, a real Hammond Organ and a Fender Rhodes piano along with analogue synthesizers that have rarely been used on stage. They also had to change the arrangements as with just four of them they are unable to reproduce everything live, so consequently there is a lot of space in the music which sounds as if it is from another time and space.

When I reviewed them last time, I said I felt they were taking influences from bands such as Jane and possibly Birth Control, and I still think that today, even more so, as here we have a Seventies band who have been through a time machine and somehow ended up in the current day. The cover photo tells you all you need to know about this, here is a classic prog band who feel the electric guitar is a very important part, either soloing or duetting with keyboards, but the photo itself has scratches on it and it looks scuffed, as if it is an album which has been pulled out of a collection and is actually from 50 years ago. It is the same line-up as previously, and they decided to include not only fan favourites but some songs they have been honing on the road which will appear in some form on the next studio release.

It is classic German progressive rock with influences from Karutrock, Hard Rock and the symphonic bands of the day to create something which is both timeless, ageless and very up to date.

I don't think there is much doubt in anyone's minds that one of the most important bands in the Eighties prog scene was Pallas, whose 'Arrive Alive' cassette in 1981 led to the two massively important albums 'The Sentinel' and 'The Wedge'. There was a significant gap until the band reformed to record 'Beat The Drum' in 1999, with founder Graeme Murray and long-time members Niall Matthewson, Ronnie Brown and ex-Abel Ganz singer Alan Reed being joined by drummer Colin Fraser. That line-up released three well-received albums and then Alan left to follow a solo career, being replaced by Paul Mackie, with whom Pallas released two more with the last being 2014's 'Wearewhoweare'. Then it went somewhat quiet on the Pallas front, and what no-one expected was a new album in 2024, a full fifty years since the band were first formed, and with Alan back at the front. Colin has departed, and the line-up is Alan Reed (lead and backing vocals), Niall Mathewson (guitars, percussion programming, vocals), Graeme Murray (bass, Taurus bass pedals, 12-string guitar, vocals), and Ronnie Brown (keyboards, percussion programming, vocals), back in the studio together for the first time since 2005's 'The Dreams of Men'.

One thing I noticed is that in the press release it states, "This is an album which repays countless listens" and that is definitely something I can attest to. The first time I played it I thought it was quite weak with not enough energy and passion, and then the second time it started to attract my attention as I realised just how many highs and lows there were with this and the way the music kept moving, swelling and descending, but it wasn't until the third time that I realised just how good this really is and that instead of being something I was unlikely to listen to again it is indeed a masterpiece ? it shows the need to play albums all the way through at least a couple of times before writing about them, something I know many reviewers tend not to do.

Lyrically this is fascinating as while 'The Sentinel' echoed the concerns of the cold war and the shadows it cast on all of us, 'The Messenger' finds the band reacting to the existential threats to the world we find ourselves in. From what we've done to the world, to the politics that shape it. I have always thought of Alan as Pallas' classic singer, possibly because I enjoyed his vocals with Abel Ganz and numerous works with Clive Nolan, but also as he was the singer in the Nineties when I was so heavily involved with the local prog scene. Strangely I never saw them in concert at the time, as I once left a venue before they were due to come onstage as I had fallen asleep during the previous band's set (I was working nights at the time) and was worried I would not be safe to drive the hundred miles home after Pallas had played, thinking I would catch them again, but I never did.

That is definitely my loss, as while back then they were a little more brash, here they have matured like a fine wine to create something which is full of nuances and embellishments here and there. Niall has taken more of a back seat, coming in to provide emphasis when the need is required, but often letting Graeme (especially with the pedals) and Ronnie to provide the backdrop for Alan to pitch his voice against. I am normally scathing of the use of programmed drums, but due to the style being employed they are not nearly as annoying as normal, and while they will need a "live" drummer to reproduce this onstage here it actually works quite well.

It is packed full of emotion, with multiple threads allowing Alan to play many parts, with the arrangements being massively complex yet also seeming quite simple with everything there for a purpose, with everything in its place. This is one heck of a return from four guys whose first album together was 'The Wedge' back in 1986. So when is the next one?

NeBeLNeST (capitalisation was obviously important to these guys) emerged out of the international post-rock/RIO/ avant-progressive scene in the late 90's and were known for music influenced by the likes of King Crimson, Shylock and Univers Zero/Present, but played at high energy levels and bringing with them influences form the hardcore and noise scenes. With the line-up of Micha�l ANSeLMI (drums), Cyril MALDeReZ (guitar), Gregory TeJeDOR (bass) and Olivier TeJeDOR (synth, devices), this debut album was recorded in 1998 and released the following year by the American label Laser's Edge. By the time of the next release they were signed to Cuneiform with whom they recorded two albums before calling it a day in 2013. In 2020 Cuneiform contacted the band to see if they wanted to reissue the debut, and after a series of quite unfortunate events (check out the Bandcamp page) they managed to recover the tapes which were then remixed and mastered by Olivier Tejedor and the album has finally been made available once again, with updated artwork.

I have long moved past being amazed at the artists discovered by Cuneiform and their seemingly endless mission to make music available which the vast majority of people will ignore or decry, as what they do is so incredibly essential for those of us who understand and long may they continue doing so. Did you know it is their 40th anniversary this year?

Right from the opening we understand we are into something quite special as here is a band who have improvisation at their heart but are approaching it from a quite different angle to many of the bands as this is not jazz, but something darker and more experimental, angular and with many edges as they refuse to conform to expectations and produce something which is very left field indeed, even for the then somewhat resurgent progressive scene. It is as if King Crimson have decided to work at their most extreme experimental boundaries and then they have brought in influences from their previous genres to create something which is difficult to listen to, being quite obnoxious and challenging. However, it is also essential as one needs to understand just what rocky path the guys are going to be taking next, how it is going to diverge and split again as they continue up the tricky terrain, never taking the easy route. Having brothers in a band is always a benefit as they know exactly how each other thinks and where they are going to go, but the others are also joined into that mindset so while there are times when they let the listeners in on the secret with more melodic passages there are plenty of ideas where they act as a guide to us who are totally lost.

This is my first experience of NeBeLNeST, but I can see at some point I need to check out their other releases as well, as some 25 years after this was first released this is still an essential work for those of us who want our prog to be uncompromising and totally left field.

Pretty unusual and, at times, awesome jazz-rock, jazz-fusion, and sometimes even proggy music from the Czechoslovakian scene in the early 1970s.

A1. "Pori 72" (13:00) a four-part suite of mostly slow, spacious, tension-filled KING CRIMSON-like bass and drum interplay with pensive electric piano and electric guitar intermittently adding some chords or notes. I really love the creativity of bass player Vladim�r Padrunek. Just after the start of the third movement, one that is much more active and dynamic, if rock-oriented--around the five minute mark--Lubos Andrst begins a guitar solo that is right in league with any of the wildest eruptions that John McLaughlin ever did in the previous three years! Martin Krtochv�l even gets into the frenzy with his Fender Rhodes while the rhythm section creates a kind of SANTANA "Waves Within" (from Caravanserai)-like foundation beneath. And then in the second half of the fourth movement he does it again, this time with some more latest-greatest effects on his electric guitar--this time the sound that Robert Fripp on "Book of Saturdays." Outstanding: both of Lubos' solos. Overall, this is a very unusual, intriguing, and definitely interesting song--one that I like very much. (24.5/25)

A2. "Pozorovatelna (The Watch-Tower)" (6:45) the first half is jazz-fusion of the bluesy type, Martin Kratochv�l's Fender Rhodes often bending the sound toward the contemporary J-RF direction but then riffing off some bluesy runs to make one question that commitment. Guitarist Lubos Andrst's guitar play (and tone) on this one is definitely all blues- rock/blues. I like the chunky bass: it reminds me of someone playing underwater. (13.125/15)

B1. "Trifid" (9:20) an intriguing start that seems to offer tons of potential, but then the bluesy solos begin and with it the rather simple foundational play continues, making me sad for the missed opportunity. The long electric guitar solo sixth and seventh minutes sounds a lot like the work BUDDY GUY (which is not a bad thing, just not your usual J-R Fuse finding). Then, out of the blue, at the 7:11 mark, the singing voice of a woman comes into the picture telling us that she loves [somebody] so in a very polished, seasoned alto voice. Wow! Weird! Especially when she starts to go into her own Clare Torey "Great Gig in the Sky" vocalese. Not a bad song just an odd mish-mash of seemingly disparate parts and missed opportunities. (17.5/20)

B2. "Klob�sov� Hody (Sausage Feast)" (5:38) opens as a slow, plodding MILES/HERBIE-like spacious adventure into space with chunky bass and spacey reverb-treated Fender Rhodes being the most conspicuous instruments in the field. Midway through the song (at 2:35) the music turns raunchy raw R&Blues rock just like JEFF BECK's with rolling bass line, two-step drum beat, and loud, in-your-face blues-rock guitar play--sounding like a reworking of "Freeway Jam" (a song that wouldn't be coming out to the public for another couple of years. (8.75/10)

B3. "Kart�go (Carthage)" (4:28) the presence of plaintive violin in the background of this slow, background cinematic music is pretty cool as I keep expecting the appearance of a Max Schrek-like vampire from behind the shadows. Martin's Fender Rhodes takes over the lead in the second half of the song, feeling as if channeling his own improvisational internal world, playing as if almost introspectively. Very cool song. My second favorite song on the album. (9.25/10)

Total Time 39:11

Very nice rendering of the individual instruments (though, admittedly, the field is rather sparse with usually only four or five tracks being occupied) though I am not always a fan of the sounds the band and its musicians (and producer and engineers) have chosen for the instruments. The first and last songs are huge winners (I am choosing, as usual, to review only the songs that were released on the 1973 vinyl album release

A-/five stars; a minor masterpiece of what amounts, at times, to creative, adventurous Jazz-Rock Fusion, at others more Blues-Rock or R&Blues-Rock music. Definitely a wonderfully intriguing listening experience!

Here we have the fifth album from Andy Lind (The Ancestry Program), the second in a trilogy. He provides drums, guitars, bass, keyboards, vocals, programming and has brought in a series of guests to assist him in fulfilling his ambition including Gary Husband, Steve Hunt, Kalle Wallner, Marek Arnold and many more. There are six additional singers, all taking lead vocals on just one track, and it is actually only keyboard player Steve Hunt (Allan Holdsworth) who gets to play on more than one track as he gets three. Musically this is jagged and eclectic as Andy guides them through JRF, RIO, Symphonic and even some Neo, but one quickly realises this is all about the performances as opposed to the musicality.

Yes, there are some incredible players involved who produce wonderfully complex and complicated parts, but while one can at times think of Zappa it does not contain either the purpose or direction, and there is a real risk of the listener being beaten into submission by the intricacy of the arrangements which appear to have little purpose apart from showing just how clever everyone is. The album is dramatically diverse, but the only reason is to show just how many styles are at his command as opposed to there being a reason for moving in the different directions. The first time I played it I was sure I would warm to it with repeated playing, but the more I have listened to it the more I have come to the opinion that it is very clever indeed but I have no idea who the audience is, apart from me obviously not being one of them. Cleverly played and nicely produced I know there will be many clamouring this to be a masterpiece, but I am not one of them.

BACK DOOR were a Jazz Rock band out of the UK and this is their debut from 1973. They would release 4 studio albums in the 70's and they were a great act to see live apparently. A trio of sax, bass and drums so they had a hard time getting signed to a record label as they all wanted to know where the guitarist or keyboardist were. These guys were stubborn enough to continue this way playing live gigs and impressing the crowds. Soon they get the invitation to open for RETURN TO FOREVER at Ronnie Scott's club for a few weeks and suddenly the offers started to come and they signed with Warner Bros.

A mixed bag here although these three guys are insane players. I keep reading that the bass player was one of the best at the time. He will lead here with his bass or just help with the rhythm but man can he play. The sax player too adds some raw energy as the main solo instrument. So while it still feels like a stripped down Jazz Rock band to me, they had some attitude to make up for it. The sax player adds flute mainly on one track "Human Bed". The sax sounds like a chicken on "Slivadiv". Hilarious tune. "Lieutenent Loose" is a bass solo while everyone goes crazy on "Catcote Rag". The best though might be the opener "Vienna Breakdown" for the sax, the energy and yes the attitude.

Interesting that by their third album they brought in a guest guitarist and keyboardist the latter being Dave MacRae which is awesome. But by that fourth and last 70's album they were back as a trio. It was just meant to be. Not a fan of that album cover.

— First review of this album —

We could see this film in theaters in April, and only two weeks later, it is now available in a specific retail drugstore in Quebec, at least! This is a box set with a DVD, Blu-ray, and free download for the audio only. This is the music of Harmonium played in 2022 by the Symphonic Orchestra of Montreal, a choir, a guitar player, and three vocalists who are special guests in three songs. The sound was loud and clear in the theater, far from the light sound of the band albums. The various instrumentation gives the music another dimension, a rich, full sound, and it helps to enjoy classical music. It is amazing to see in the booklet how many people worked on this production with 4 pages of credits! It's important to know that this is a movie with some visuals and theatrical elements. The stage settings had the help of someone from the Cirque du Soleil. We can see some characters on stage and in the air to illustrate some of the stories related to the music of Harmonium. In my home, it's impossible to have a better sound than at the theater, but on the other end, you can enjoy the 5.1 mix and the Atmos mix, which, for those who have the equipment, is well done. At the end of the show, there is an emotional moment in a special guest's presence. We can't see this classical tribute to the band's music as a replacement for the original version but a revisited take to bring some nostalgia 50 years later.

When multi-instrumentalist Erlend Aastad Viken from Soup released the debut album from this project in 2021 it was to almost universal acclaim with many prog critics and reviewers rating it very highly indeed and putting it in their top lists of the year. Of course there is always someone (me) who doesn't share the joy, feeling there was a lack of continuity and direction, and must confess to not being too surprised when I thought the same when I listened to this. I am aware I often do not share the views of others, but I keep listening and wondering if it is just me (which is why I have tried so hard to enjoy Marillion over the last 35 years, but still feel they have lost their way since they dispensed with the tall Scotsman).

There are bits of this which are truly brilliant, but others which feel way too much like "prog by numbers", and while Jean Michel Jarre and Mike Oldfield are obviously huge influences (and I admire both of them immensely), this again lacks the clarity of thought and vision to carry off what is undoubtedly a huge project. I count sixteen guests on this, with only two of them not credited with individual tracks (which presumably means they were involved with vast majority), but even with some real drummers we also end up with tracks which sound as if they were programmed and all the worse for it. There are times when this seems almost as if it is a demo, with a feeling that with more care there would be much more depth, but as it is, it is often shallow with a production which seems to have rendered everything one-dimensional and not enough bottom end. I guess I will be in the minority again, but this is certainly not for me.

4.5 stars! It's a magma-quality album, what else do I have to say?

At first I didn't really like the idea of listening to an album from 30 years after the band's apogee, but now I absolutely love it, especially part 1, with its awesome bass lines, and part 2. This album is really engaging because of its more clear sound thanks to the new technologies used, plus it's still magma! I also find that it's an easier album to listen to compared to M.D.K. because of the lack of "shouting", which in my opinion is a bit harder to get into, but once you've listened to the album for some 20 times you begin to miss them.

Overall I've really enjoyed this album and I highly recommend listening to it!

Following on from the release of their debut album in 1997 the band planned to undertake live dates, but these were impacted by changes in personnel and by the time they went into the studio in January 1999 only guitarist Mathias Desmier was still there with Patrick. The rest of the band now comprised Gilles Pausanias (keyboards), Denis Guivarc'h (saxophone) and Juan-S�bastien Jimenez (bass) with an overall sound and approach that was very rooted in the fusion space but with less overall breadth and width than the debut. There is still one number coming in at nearly twenty minutes, but the other four are all less than ten with a total running time of just over 45 minutes.

With less woodwind instruments, and no vibraphone/marimba, there is far more space on this album which is used wisely so while Denis is often taking the lead role the others switch between providing melodic support or taking more of a backseat. During "Rebirth" Mathias plays the same note progression almost throughout, yet when he is given the opportunity he is an incredibly exciting and dynamic performer yet fully understood his role in this piece. This also allows Patrick to ensure that he and Juan-S�bastien are more to the fore, as there are far less layers to contend with while musically it feels much more like an album of its time as opposed to one from much earlier, unlike the debut. Undoubtedly the change in line-up had impacted what was taking place, but also Forgas had been able to record four albums in 10 years, and before that there was a break of 13 years when he had recorded very little, so he was able to experiment more with what he actually wanted to achieve. This often feels more upbeat and commercial, with much more of a jazz rock fusion feel than Canterbury, and one can certainly understand why after this was released they were soon signed to Cuneiform who they have been with ever since. Again, this album has until now been unavailable for the last 20 years, and it is a fine addition to any collection.

Drummer Robert Forgas, who was heavily inspired by Soft Machine, recorded and released his debut album, 'Cocktail', in 1977, but due to the demise of the record label he pretty much gave up on music for ten years. Thanks to Musea, the healthy sales of 'Cocktail' then led to the release of two new albums in the Nineties, which in turn led to conversations about forming a band to be able to play the music live. Their debut album, 'Roue Libre', was recorded in less than two weeks in March 1997, and was released on Cosmos Music later the same year, but has now been unavailable for more than 20 years.

Even though I was highly active in the scene in the 90's I had not come across this release until now, but I did review their most recent album, 2018's 'L'Oreille �lectrique' which I thoroughly enjoyed so was looking forward to this. In many ways this is like stepping back in time, not to the late Nineties though, but a decade earlier. Patrick (drums, electronics) is joined by bassist Philippe Talet to provide the bedrock of this release, always moving yet always keeping the structure tight while Mathias Desmier (guitar) and St�phane Jaoui (Fender Rhodes, piano, synthesizers) provide the middle layers, wrapping on top of the rhythm section to provide depth and yet more support. However, it is Mireille Bauer (vibraphone, marimba) and Fr�d�ric Schmidely (tenor & soprano saxophones, flute) who are often the lead players, often harmonising while Fr�d�ric must have worked like a trojan in the studio, adding multiple instruments and threads to the same track. That is not to say that Desmier is not a wonderful shredder, just that he is rarely given the opportunity to shine, although his blast in "S�rum de V�rit�" is both unexpected and a real delight.

There are only three songs here, with the short one being six minutes long, and then we get one at eighteen and another at twenty, but they never seem that lengthy as one is soon deep inside the music which somehow seems dated and timeless all at the same time. Given his early love of Soft Machine it is no surprise this has much to offer fans of the Canterbury scene, with the likes of National Health also having some influences while this will also appeal to those who enjoy Jean-Luc Ponty, Ian Carr's Nucleus, Frank Zappa's instrumental works and Billy Cobham's early bands. In many ways this is something of a forgotten album now due to its lack of availability and it is wonderful to be able to enjoy this again thanks to Cuneiform Records who signed the band to their label more than 20 years ago.

Towards the end of 2022 I was sent the excellent debut album 'Mad & Killing Time' by Scottish band Ebb, and I was amazed that not only had this "new" band released an album of such quality but had ensured the presentation matched with the music with a 48-page A5 colour book. This three-track EP is, in some ways, a companion piece to the debut in that it deals with and resolves many of the issues raised in that album. If 'Mad & Killing Time' was a comment on the human condition, 'The Management of Consequences' is a more personal examination of the same. As with that release, the band are based around Erin Bennett (lead vocals, guitar, trumpet), and comprise Kitty Biscuits (backing vocals, percussion, spoken word poetry), Anna Fraser (drums, percussion), Bad Dog (bass), Susan Dasi (backing vocals, synths), and Nikki Francis (Hammond, piano, synths, saxophone, flute, clarinet).

Just three tracks this time, with a total running time of just over eighteen minutes, but that is plenty of time for them to show just what they are made of. The rhythm section is the heart of the band, with complex drumming and basslines shifting and changing from being in the background into the centre of consciousness and back again, the guitars are the strength and power, the keyboards are the soul and then rising over it all is the voice. It is no surprise to me whatsoever that they have been making a name for themselves on the live circuit as while they are marked in PA as being Eclectic, I am sure there must have been plenty of discussions as to whether that was the right place to be or whether it should have been Neo while Heavy could also have had a look in as they touch lots of bases. When there is a need to crunch it is there in spades, while the switch between different keyboards is essential so the Hammond can really make its presence felt when it comes to the fore, and Erin has the chops to go right over the top of it all.

This is yet another great release from Ebb, and I look forward to the next full album which cannot come too soon.

The picture may look as if this is a standard looking release, but here the CD is at the rear of a 48-page full-colour A5 landscape glossy book which provides us with the lyrics, numerous photos, and an insight of what makes this art/prog/folk/rock collective really tick. What we have here is a continuation of the 'Krystal Svava' mythos they started in their EP 'Death & The Maiden'. It is somewhat based an old dying ex- army musician and his housekeeper cum part time sex worker they knew, mixed with that of a new friend, David, also an old soldier and ex-musician living in Scotland. The band are based around Erin Bennett (lead vocals, guitar, trumpet), and comprise Kitty Biscuits (backing vocals, percussion, spoken word poetry), Anna Fraser (drums, percussion), Bad Dog (bass), Susan Dasi (backing vocals, synths), and Nikki Francis (Hammond, piano, synths, saxophone, flute, clarinet). Yes, we have a band which are nearly all-female, which is unusual in any style of music but certainly rare within anything remotely thought of as prog where women are generally allowed to be lead singers but rarely anything else (yes, I am fully aware of bands like Eternal Wanderers, but there are very few like that).

The album commences with the sound of an orchestra warming up and getting ready for the performance and is quite unlike the rest of the material, but somehow it is also quite fitting in that it allows us to know that whatever comes next will be unexpected, and that is certainly the case throughout. It is a heavily layered and arranged album, and one never knows what to expect, and by concentrating on different musicians it is possible to clearly understand just how much impact each of the players is having on the rest of the band. Erin can really crunch when she wants to, sing sweetly or with real power, while behind her Anna is never content to sit within any particular pattern or style, moving all over the kit when the time is right, keeping it restrained at others. Bassist Bad Dog is in many ways the cornerstone as he can keep it simple or provide great complexity, moving right up the neck for counterpoint melodies, linking with both Anna and Erin which then allows the others to add their own layers. At times we have piano which is simply beautiful and delicate, at others swathes of keyboards and orchestration, while various woodwind and brass instruments come in when the time is right. There are times when they are quite Floydian, others more direct, and yet others where folk is an important aspect with a feeling that Mostly Autumn have also been an influence, yet it also feels somewhat deeper, stronger, with a real connection. This really is a wonderful release, and it is great that the physical version really does justice to the music contained within. Well worth discovering.

It has been way too long since there has been an album from one of my favourite Russian experimental prog bands, but finally, after a gap of four years, they are back with their eighth studio album, 'Bionika'. I have been fortunate to review all of their releases to date, enjoying them all, but yet again we have had a significant change in line-up with only founder member Konstantin Mochalov (guitar) still there from 'The Big Adventure' while Anton Efimov (guitar), who played on some earlier releases has returned, and they have been joined by Daria Solovyeva (beats, synths), and Nikolay Filimonov (bass). Anton was the person who sent me the album to review, but I thought nothing of that as he has sent me many releases by the excellent Addicted label over the years, and he did not tell me he was back on this one.

Apparently, the concept of this album came together in the Bio-Organic Music Lounge at Disen Gage's New Year "corporate party" on 29/12/2021, where Alexei Borisov (Nochnoi Prospect, F.R.U.I.T.S., Astma) brought fellow musicians Eugene Voronovsky (Cisfinitum) and Misha 'MOX' Salnikov and everyone started talking about a collaboration between Disen Gage and these noise/ambient artists (who are all credited on the album cover) to create something which was aligned to the experimental roots from one side, and the ambient from the other. The result is something which is aligned to the band's earlier works as well as feeling closely related to New York's Gridfailure. As with the rest of their works this is not something which can be played in the background but needs to be listened to intently on headphones, is not something which can be fully understood on the first time of playing and will definitely not be to everyone's tastes.

This is abstract, industrial, experimental, with notes and instruments being brought in and out, layers of sound being used to create emotional responses with some being fuzzed and distorted, others being clean and clear. Sometimes it feels as if no-one knows what they are doing, while there can be focussed vision at others, the true reality is that this is music which creates an audio image in our ears which is both compelling and disturbing. Organic, yet with hard edges, this is for people who want to be adventurous and feel that Can and Art Zoyd never pushed hard enough.

3.5 stars. SATURNIA is the one man project from Portugal with Luis Simoes at the controls of this psychedelic ship he captains. He released his debut in 1999 and has offered us eight studio albums in total. The biggest gap between albums was the five year one before this was released in 2012. No wonder when you consider the quantity of music here as this is his only double album and it's worth almost 2 hours.

Also he's following up his master work "Muzak" which is almost impossible, but man in one sense he went beyond expectations. Look at the detailed front and back cover art with the symbols, pictures and words. This is the philosophy of Luis and it's incredible to look at, the detail of it all.

I picked this up cheap recently and am so impressed with the package. A thick liner note with lots of pictures of the instruments Luis plays along with his studio and we get the lyrics etc. He says hello to Nik Turner and others. There are two guests adding spoken word parts but that's it for guests. I have to mention the opener "I Am Utopia" which instrumentally is so impressive with all that's going on. The chorus is right out of THE LEGENDARY PINK DOT'S playbook.

The next track that really impressed was "Rings Of Smoke" with the mellotron and spacey sounds, this one has spoken words in it. The thing is a lot of this doesn't work for me but it's all good if you what what I mean. Lots of layering at times which I like but sometimes the vocals when they are soft or especially when they are whispered I'm just not as into it. Did I mention there's a lot of music here? A triple album back in the day, as I've said many times this would have made one killer single disc if I could pick the tracks.

There is a lot of ethnic sounds on here, especially sitar and tablas but more. The opener of disc two is a great example of this. A feel good sound here and it's called "Moving Mandala". "Trance Dance" is interesting, maybe not the lyrics but the way I feel like I'm going in circles listening to it. Nice depth to it as well. Electronics rule the day on "Specialists Of The Invisible" and it's dark and spacey too. The guitar on the next two tracks take the spotlight before mellotron takes that role on the closer. Luis also uses samples of water etc. on this album and I'm surprised at how prominent the synths are in the various ways he uses them.

This in my opinion could be the album Luis would point to as the one he is most proud of. I just have a feeling with all the detail and work he put into this. It's like his philosophy on life is on display with psychedelic music as it's soundtrack. It's too inconsistent to go 4 stars for me here but check out "Muzak" where the greatness never leaves the recording.

REVIEW

SIMPLE ANSWER: this is the best album i have ever listened to

DETAILED ANSWER: i found this band a couple of months ago, and im damn well grateful for it, this album is an underrated masterpiece (im listening to it while writing this), usually, ill pick out one song on an album i like, but this is one of those artists where i have to listen to the entire albums, even though all the tracks are seperated, this feels like one 66 minute long masterpiece. The folk, symphonic, psychedelic mixture works more than perfectly. every single song has an incredible solo aswell as everything else (especially the answer, and something she said) and some great riffs aswell (my favourites being from merry dance, and the answer), the vocals also fit perfectly into this album, the lyrics are kind of cheesy though, which isnt always a bad thing.

this band also uses the choir synth in all of the songs aswell, which to me adds loads more depth and emotion to the solos' and songs.

Overall, this album is a hidden gem in the progressive rock world.

RATING 10/10 (if i could give it higher than a 10/10 i would)

After the promotional tour of "Are You Sitting Comfortably?" and the subsequent departures of Paul Menel (vocals) and Tim Esau (bass), the continuity of IQ was very much compromised, to the point of programming farewell shows with Peter Nicholls for the occasion, which by those paradoxes of fate served for the former bandmates to reconnect and decide to give each other a second chance, finally embodied in "Ever", the band's fifth album (1993).

IQ, like a prodigal son, returns to the progressive parental lands with a proposal full of gloomy atmospheres and extensive instrumentation, which does not hide its proud Genesian influences and combines them with home- grown elements more in line with nineties sonorities, from the intense half-time of "The Darkest Hour" and Nicholls' heartfelt singing accompanied by Martin Orford's affable piano in its last section, the gloomy and hypnotic "Fading Sense" and the very thick bass of newcomer John Jowitt in the instrumental wall he builds in complicity with Orford's crisp keyboards and dramatised by the ambient chirping of birds, Its continuity in the stumbling animosity of "Out of Nowhere", until the piece called to be the backbone of the album, "Further Away" with its generous mileage and the good sensations transmitted by the arpeggiated and crystalline keyboards, mellotrons, the Wakemanian moog and flutes of Orford together with the singing of Nicholls, although at times it seems to exceed unnecessarily in its spacious margins, partly hindering its fluency.

And to ratify that the progressive winds guide the path of "Ever", "Leap of Faith" goes through threaded and placid constructions of seventies ambience in one of the best moments of the album, before giving way to the calm and conclusive "Came Down" and ending the work.

"Ever" was one of the solid foundations on which IQ's particular style would begin to solidify, consolidating it in their later works.

Very good.

4 stars

The sophomore release from this German band showing tremendous growth, moving the band's music fully into the realm of Jazz-Rock Fusion.

1. "Festival Rock / Use the Bridge" (17:30) right from the beginning of this piece one can sense the DRAMATIC change in musical approach the band has grown into: using an approach that is much more in tune with the fusion trends going on at the time in contemporary Jazz-Rock Fusion. The sound engineering is still strikingly pristine, almost ECM/ahead of its time, while the constructs are much more similar to those of Herbie Hancock's Mwandishi-era albums or even Miles Davis: more spacious, more drawn out, not so hurried to get the music into a compact form and package. The addition of electric piano to Klaus Gobel's keyboard repertoire is especially telling, considering that he was very much organ-centric on their previous album, 0611 Cat Quarter (released in the previous year). What a difference a year can make! Though the core quartet has remained the same, there are new collaborators on this album than on Cat Quarter in the form of busy percussionist Viktor F. Belgrove and two conductor/arrangers. I love the mix of the instruments so much as everybody seems up front and close--as if the listener is sitting in the middle of a circle of the players. Would that all albums could feel this intimate! At the beginning of the second minute the band falls into an awesome funky groove that drives somewhere in the third or fourth gear so tthat the individual soloing can begin. Fender Rhodes is first before a quiet slowdown bridge returns the band to the opening motif before they turn down a completely different alley for some Santana-like latin funk over which Gustl Mayr solos enthusiastically with his tenor sax. Speaking of enthusiasm, it definitely shows in every single musician's performances: these guys are fully, 100% engaged. In the second half of the ninth minute the melodists back off so that Viktor Belgrove and Kurt Bong can have some solo time. Then, at the end of the tenth minute, the band comes back with Klaus Gobel back to his organ while the rest of the band puts together a kind of another new motif--this one swinging a little more and which sees Klaus' organ playing a big role despite nice contributions from everyone else. In Gustl Mayr's solo in this portion of the suite we hear him going off with more fire and brimstone than we're used to hearing from him. (He's usually quite melodic and restrained.) Once again Gustl's organ playing style during his turn in the spotlight reminds me more of that of Rod Argent than anyone else--though he is quite fond of "returning to order" with the long sustained chords familiar to everybody from Steve Winwood's play on "I'm a Man." Nice suite. I really would have loved to hear more of that second, more-funky motif. (32/35)

2. "Catalyst" (9:18) opens with a more familiar 1960s organ-based jazz-rock approach that might have come from Stevie Winwood's SPENCER DAVIS GROUP or one of BRIAN AUGER's projects. Drummer Kurt Bong gets quite a little solo time in the second minute before the rest of the band is allowed to rejoin, this time with Gustl soloing on his tenor in a more 1950s bop style of jazz. In th e fifth minute everybody cuts out for about a minute of odd but interesting African tribal chant and drum music, but then, just as suddenly, everybody returns to full-band jazz, picking up the bop motif as if nothing had interrupted them, only this time the create a new pattern by slowing way down every 20 or 30 seconds for brief bluesy organ passages, repeating this pattern over and over four or five times until the song's end. An okay song. (17.5/20)

3. "Fog in Rossert" (7:11) built over a pretty cool bass line, this one starts out kind of funky before slowing down at the end of the first minute for Gustl to play a pretty melody that must have been lifted by David Shire for his song "With You I'm Born Again" which became a massive hit worldwide when it was performed by Billy Preston and Syreeta (Wright) for the 1980 film soundtrack Fast Break. Fortunately, the song moves back and forth between this motif and the funky opener with another interesting percussion interlude in the sixth minute before everybody comes back together for the low-key finish. (13.375/15)

Total Time 33:59

As alluded to in my review of FROM's only other album, I really respect and like the talents, commitment, and engineering of From's music. I only wish the band had been able to pull off another song or two to solidify the fact of their commitment to the new jazz/Jazz-Rock Fusion that they seem to be matriculating toward--or that they had stayed together for at least one more album cuz they had so much potential. After this album release all three of the founding quartet broke off into separate projects--some as band leaders, a few in other jazz combos.

B+/4.5 stars; a near-masterpiece of early "mainstream" "First Wave" Jazz-Rock Fusion--an album that I highly recommend to all prog rock lovers--and especially jazz and J-RF lovers--if only for the experience of hearing such an incredibly tightly-synchronized band rendered with such phenomenal sound engineering.

Early German blues-jazz obviously inspired by the new electric developments coming from New York City as well as the portable electric organ work of some of the extraordinary keyboard players who were pushing boundaries in the late1960s. One thing that makes this album stand out is that it is made up entirely of original compositions--mostly by saxophonist Gustl Mayr.

1. "Lollipop Mainliner" (4:22) sounds so Sixties-ish: like a mash up of "surf rock" and organ blues-rock. The construct definitely comes from the blues idiom. Interesting long slow down at the three-minute mark followed by the reprise- restart of the main theme to close. (8.75/10)

2. "Goose Pimples" (4:42) opens up sounding like a variation on Gerwshin's "Porgy and Bess," but then it goes full blues with some soprano saxophone soloing above the organ, bass, and drums. Organ takes over the lead soloing throughout the second minute before giving way to the sax again. (8.75/10)

3. "Chicks" (4:25) James Brown-like R&B--like "Mustang Sally" with a slight influx of surfer music. (8.5/10)

4. "Gargoyle" (4:46) the closest song to proto-prog Blues-Rock like something Brian Auger, Rod Argent, or even Keith Emerson might do. Gustl Mayr's wonderful soprano sax play is more akin to that of John Coltrane. This song really swings! My favorite song on the album. (9/10)

5. "Mood Blue" (4:10) a great movin' Jazz-Rock piece which really showcases Klaus Gobel's talents on the organ. The chorus bridge is a bit like the structure and chords of Steve Winwood's "I'm a Man." (8.875/10)

Side Two: "Fancy Suite" : 6. "Cat Quarter" (5:49) more organ and sax supporting jazzy R&B. (8.75/10)

7. "Dig It" (5:28) old-time blues construct that was probably very popular in the band's local beer halls. Sax gets the lead over the standard jazz drumming and fret-walking bass line but, of course, Klaus gets his time in the sun as well. (8.6666667/10)

8. "Fancy Soul" (5:15) opens with some adventurous bass play before sax, brushed drums, and sustained organ chords join in. This is jazz from the deep South: sad and emotive. Nice work from bassist Dieter Von Goetze and Gustl Mayr on the soprano sax--and I really like Klaus's restrained, respectful organ: giving full support and shine to Gustl. At the halfway point Gustl takes over the lead, mirroring Dieter's melody lines with great care and respect while still adding his virtuosic riffs and flourishes, and then Dieter is given the lead for the final minute and more. Nice! Another one of my top three songs. (8.875/10)

9. "Ruck-a-Sack" (4:10) another song that feels as if it would have been a great favorite in the local pubs and beer halls- -it feels like an "old standard": full of simple catchy melodies and playing patterns. Nice cymbal play from drummer Kurt Bong. (8.666667/10)

Total time: 44:46

On the positive side, these songs are all recorded extremely well: with all instruments being rendered clearly and cleanly defined, but the soundscapes are a bit too sparse and spacious for my tastes. From a distance, this really is less Jazz-Rock Fusion despite its used of electric bass and organ; it's more jazzy Blues Rock.

B/four stars; a beautifully-rendered collection of original music that all feels familiar in the way that popular jazz "standards" do. If you like melodic organ and sax play within a competent jazz combo, you might love this.

Review N� 774

Gentle Giant was a British progressive rock band formed in 1970. It was one of the greatest progressive rock bands during the 70's and was also one of the legends created by this style, as there are now legions of fans of the band around the world. The band was formed by the three Shulman brothers (Phil, Derek and Ray) all former members of the British pop/soul/psychedelic band Simon Dupree And The Big Sound formed in 1966, after the band broke up in 1969.

The intents of the band were to expand the boundaries of contemporary popular music, at the risk of becoming too unpopular. In the beginning, they played all over England for four years, being well received by radio and television. During those ten years, which means between 1970 and 1980, Gentle Giant recorded eleven studio albums. Those studio albums are their eponymous debut "Gentle Giant" from 1970, "Acquiring The Taste" from 1971, "Three Friends" and "Octopus" both from 1972, "In A Glass House" from 1973, "The Power And The Glory" from 1974, "Free Hand" from 1975, "Interview" from 1976, "The Missing Piece" from 1977, "Giant For A Day" from 1978 and "Civilian" from 1980.

"In Concert (BBC Radio 1)" is one of the many live albums released by Gentle Giant after the split of the band. It was released in 1994 from recording tapes taken from a radio concert recorded to the BBC on May 1, 1978. It has the same song selection and song order that Gentle Giant used throughout "The Missing Piece" live tour, although on some dates more songs could be added to it. This is a live concert tour with a high quality sound available, but they all sound nearly the same because by this time, Gentle Giant was no longer jamming or stretching out songs like they used to. "In Concert (BBC Radio 1)" is a live album with forty-eight minutes long. We can say that the sound quality is fairly good.

"In Concert (BBC Radio 1)" has ten tracks. The tracks are essentially focused on two of their studio albums. So, and this isn't really a surprise, we have six tracks that were taken from their last studio album released at the time "The Missing Piece": "Two Weeks In Spain", "Memories Of Old Days", "Betcha Thought We Couldn't Do It", "I'm Turning Around", "For Nobody" and "Mountain Time". From "Free Hand" we have three tracks, the title track "Free Hand", "On Reflection" and "Just The Same". We have also a track from "The Power And The Glory", "Playing The Game".

About the individual tracks, "Two Weeks In Spain" is the track that opens "The Missing Piece" and that it's also a great opener for this album. It's a charming and energetic song with nice changes, very fun and enjoyable to hear. While lyrically and musically it's a pretty light pop fare, it really works performed in studio and live. After the opener we have a bit more complex music with the three tracks from "Free Hand". "Free Hand" is a more elaborate and complex track, a traditional Gentle Giant's track with dissonant parts and with constant changes of rhythm and tempo. "On Reflection" is one of Gentle Giant's trademarks with the polyphonic vocals inspired by renaissance and the cappella music. This is essentially an acoustic song. Here we can see the high skills of all band's members where they change from their usual electric instruments to acoustics. "Just The Same" sees the return of all band's members to their electric instruments. It's a slow rock song with good keyboard work that has also some great jazz influences. "Playing The Game" is the track that revisits their album "The Power And The Glory". It's a dynamic and a relatively complex theme. It's a multi-faceted pure prog track in the Gentle Giant's most pure musical style. And now we have the other five tracks from "The Missing Piece". "Memories Of Old Days" is a stunning piece where Derek pulls out one of his most heartfelt vocal performances and the dual acoustic guitar textures from Ray and Gary are just magical, complemented by Minnear's sumptuous keyboards. "Betcha Thought We Couldn't Do It" is clearly influenced by the punk. It's a rock song but that doesn't sound too Gentle Giant. "I'm Turning Around" is a calm and beautiful track. This is a soft romantic track that reminds me the good old Gentle Giant. "For Nobody" is a driving rocker led by Minnear's raging Hammond riffs and Green intricate guitar lines. It's full of energy and a really delightful for the ears of fans. "Mountain Time" closes this live concert in a rock nice way. This energetic piece has some fine organ work and some great vocal arrangements too.

Conclusion: Who are used to the band knows that many of Gentle Giant's live albums have a very poor sound because of many of them were taken from official bootleg performances in a very cheap way. But, fortunately, and this isn't a strange thing since it was recorded by the BBC, "In Concert (BBC Radio 1)" has a very good quality sound. So, all in all, this is a very nice live concert recording. It's true that it isn't very well representative of all band's career, but it remains for me as a very nice live work of Gentle Giant. It's also true that it was performed when the band became in decline, the time after where their last great album was released, "Interview". However, it was performed in the time of "The Missing Piece" which is a very nice work. But, above all, the live performance and sound are irreproachable. So, 4 stars to it.

Prog is my Ferrari. Jem Godfrey (Frost*)

The RIO duo cHoclat FRoG (their capitalisation) comprising Rainer Ludwig (vocals, drums, percussion, keyboards, guitar, synthesizer, Fx, programming) and his son-in- law Tim Ludwig (bass, guitar, programming, backing vocals, additional voices) are back with their second album, following on from 2021's 'Snapshot'. That release saw them bring in guests to fill out their sound and provide some different influences, but this time around it is just the two of them, and to my ears they have produced something which is more complex and richer than the debut.

While this is still solidly RIO with a refusal to conform to any set norms or styles, there is no doubt they felt inspired to bring the guitars more to the fore than previously. This means that some of the music moves into more of a prog metal style and listening to the opening of "This Is My Wife" one realises this has much more in common with Zappa than one might expect before moving more into a metal and avant mix than even he might imagine before dropping into a wonderfully emotional fretless bass and percussion duet. It is the sheer breadth of styles they embody which makes this such a fascinating release, from a duo who are more than happy to be fully instrumental when the mood takes them, bringing in vocals when they feel the time is right. It is difficult to comprehend it is just the two of them creating this soundscape as it feels much more like a full band, with people bouncing ideas off each other as opposed to spending countless hours in a studio creating this line by line, thread by thread.

They seamlessly switch between prog which is more mainstream and the avant garde, often within the same song, making for very interesting listening indeed as one never knows which path the music is going to take, only that one cannot expect a musical pattern to be followed bar to bar, and even when one gets lulled into a false sense of security such as with the bass on "Pollock" one is sure it is soon to change into something quite different. Overall this is a fascinating album which progheads will do well to discover.

I HAVE A SPECIAL PLAN FOR THIS WORLD EP

The first EP of the 2000s by David Tibet's CURRENT 93 project finds him delivering another round of poetry with various field recordings, tape music and dark ambient music decorating the background. A 22-minute single track I HAVE A SPECIAL PLAN FOR THIS WORLD features Tibet narrating the poem of the same name by the author Thomas Ligotti who was most famous in the 1950s for his weird and gothic fiction short stories that tackled two of Tibet's favorite themes, namely pessimism and nihilism!

A sparsely decorated affair the EP features a return appearance of Steven Stapleton of Nurse With Wound and harkens back to CURRENT 93's post-industrial sounds of the early 80s which includes synthesized drones and random sounds from found objects. Only the most minimal use of acoustic guitar and piano can be heard and the EP has proven to be one of CURRENT 93's most beloved of his entire length list of shorter EP releases. This was specifically released as a one track CD on the Durtro label but the 12" vinyl version featured a B-side titled "Excerpts From Bungalow Tapes."

One of the closest things to the apocalyptic nightmare music that was displayed on Tibet's earliest albums such as "Nature Unveiled" and "Dogs Blood Rising," I HAVE A SPECIAL PLAN FOR THIS WORLD is indeed a bleak and depressive affair with clearly enunciated spoken word prose that leaves nothing to the imagination in exactly what he is uttering. The bursts of radio static, tape machine blips and bleeps and dark ambient droning really takes this to a whole new level of bleakness especially after releasing such brilliant and more uplifting albums in the 90s that focused on the catchy and melodic acoustic guitar strumming of neofolk.

Of course the most sinister sounds from this EP are from Tibet's poetic delivery itself with a cold and sterile detached procession through the darkest subject matter one could wish to experience in a poetry reading. While i've never really been a huge fan of spoken word vocals in a musical context i have to say that David Tibet delivers it all in such a thoughtful creative way that it's utterly irresistible but only if the darkest of subject matter attracts you for such things. Yet another excursion into some of the most psychotically delicious poetry sessions laid down to a recording, CURRENT 93 is the gift that keeps on giving!

IRIS released this one album back in 1996, more or less an all instrumental Neo-prog album. I was attracted to the cover art but really it was hearing that MARILLION's rhythm section was part of this trio that made this an easy decision at the time. So we get Trewavas and Mosley doing their thing but this is the project of multi-instrumentalist Sylvain Gouvernaire who composed the music and plays a variety of keyboards along with the guitar. He was part of that all-star lineup on that CASINO record that was released in 1992 several years earlier so he's been around some talent.

Quite a bit of synths on here but the guitar dominates overall. A very pleasant album where no track really stands out to me. I do wish the drums and bass were more upfront although Trewavas does come to the fore the odd time. Nothing is memorable, but it's quite pleasant and enjoyable. Considering the talent involved I was expecting more but this is the perfect 3 star record.

While still in Megadeath, guitarist MARTY FRIEDMAN continued to release solo albums on the Shrapnel Records label after the success of his 1989 shredding bonanza "Dragon's Kiss" but due to an incessant touring schedule during Megadeth's most financially successful chapter of its existence he began to burn out on heavy metal and had a major need to use his solo albums to explore a completely new musical dimension that he had never entered before. This began with the 1992 album "Scenes" which to his fans' surprise eschewed the lightning fast guitar antics that had made him a worldwide celebrity and instead ventured into the world of Japanese melody inspired new age which found him collaborating with the great Kitaro of all people. "Scenes" was quite the departure from his usual repertoire and although brief moments of metal lite still drifted in to the overall equation, the album was clearly designed to be pacifying and soothing as if composing the soundtrack for a Japanese tea garden only with a touch of what came before just to put his personal stamp on it.

Not having gotten the mellowness bug fix quite satiated on that album, FRIEDMAN returned two years later with his next excursion into the world of new age ambient flavored music only taken to the next level with several additional musicians and an upgrade in the compositional fortitude. INTRODUCTION came out at the end of 1994 pretty much released simultaneously with Megadeth's "Youthanasia" album and once again featured fellow band member drummer Nick Menza in the percussionist's seat.Along for the ride were pianist / keyboardist Brian BecVar and a few classical musicians including Sachi McHenry on cell, Charlie Bisharat on violin and Nick's father Don Menza playing the Japanese woodwind shakuhachi who himself was a famous saxophonist as a member of the Buddy Rich band as well as playing with Elvin Jones and Louie Bellson. The end results followed in the footsteps of "Scenes" but INTRODUCTION was a completely different type of album with only a quiet, calming placidly shared as the commonality. FRIEDMAN claims most of the music was written during his endless flight schedule and created so he he could listen to it in order to pacify his hatred of flying.

Defying any true categorization, INTRODUCTION came off as some sort of progressive post-classical minimalist new age lullaby album with intricate melodic developments borrowing an idea or two from traditional Japanese folk musical forms as well as incorporating traditional pop techniques of the American 1950s. The album featured eight distinct tracks that added up to 42 minutes of playing and basically revolved around a catchy intricately deigned melodic flow that implemented the creative use of timbres and musical cadences as the primary methodology of spicing everything up with extended compositional build ons to simulate a verse / chorus / bridge style of compositional flow. The music was sparsely decorated with various pairs of instruments showcasing subtle variations in the same recurring melodies that retained the lullaby effect whether the music delivered an atmospheric new age moment, Western classical minimalism or the occasional moments into the world of guitar based rock that featured the bass and drums with an occasional guitar lick erupting into virtuosity.

The piano based opening "Arrival" sets the stage with alternating parts that allow the music to reprise the same melody only set to differing instrumentation and dynamic shifts. The tracks that follow all offer distinct personalities that showcase FRIEDMAN's virtuosity delivered in impressive finger-picking skills that culminated the most complex Italian inspired melodies on "Mama." The creative drop in and drop out effect of the Japanese flute, the violin, cello, piano and rock parts maintained an unpredictable framework within the overall continuity of the melodic process with a few moments of time signature deviations added for the element of surprise. "Bittersweet" began with a detached Japanese flute that slowly ratcheted up the melodic deliveries before with a lugubrious orchestral effect slowly upped the intensity while ultimately culminating in one of the most impressive clean guitar picking solos on the entire album.

"Be" on the other hand begins as one of the most placid tracks of the lot only to make a complete shift into the world of rock with the most dynamic electric guitar workouts on the album. "Escapism" on the other hand nurtures a brilliant compositional flow only to feature an extended improv in rancho relaxo mode only with clever guitar licks offering soul piercing note bends and FRIEDMAN's obvious deeper connection to the very essence of melody itself. As the album progresses each and every track only offers an utterly instant ear worm with Japanese inspired melodic hooks with MARTY's most tasteful of guitar bends that sound like their narrating a greater tale behind the scenes. The album culminates in the rather distinct sounding "Siberia" which offers guitar tones and drumming techniques not heard throughout the album. The album delivered all the compositions in surprisingly good taste while maintaining a basic new age placidity without really falling into that world whatsoever. This is the kind of intricately designed mellow music that Buckethead has been striving for for decades and never even come close to the sheer genius of the compositional fortitude laid out on these eight outstandingly beautiful tracks.

Fearing that he was alienating his fanbase completely at this stage, FRIEDMAN would never release these kinds of mellow albums again with future albums returning to the heavy metal basis for shredding and general songwriting. While this album may sound like an absolutely disastrous proposal it is pulled off with so much class it brings tears to my eyes when i experience it. The tasteful use of melodies and how they are forged into a unique compositional wholeness evokes the world of the classical musical geniuses of yore and FRIEDMAN after proving his top dog status as one of the top neoclassical and thrash metal masters of all time displayed how his talents went well beyond such confines of heavy music. This is an album i always think i'm going to outgrow after many years but every time i put it on i'm really just blown away like a was the first time i heard it. If i had only one complaint about the entire album it would be the lazy drumming techniques on the rock oriented sequences but even then they don't distract from the overall goal. This is an all-instrumental affair with only the beautiful track "Luna" offering an uncredited female voice narrating some poetic prose in the Japanese language thus showcasing FRIEDMAN's fascination with the Japanese culture almost a decade before he would permanently relocate there. Pure genius this one!

This is certainly one album i got the right introduction to. In fact i can't think of a better way to become acquainted with one of COIL's most mind-blowing and alienating freakfests of its entire career. Back in my party days i let my naughty friends influence me into the occasional night of overindulgence where i didn't hold back and went for it with all the youthful nonchalance and gleeful intoxication that one would expect from someone in their early 20s. One fateful night my friend who prided himself on trying and turning everyone on to his favorite new intoxicant of choice gathered his friends for a drunken drug-fueled night of excess. Oh yeah! Those were the days :D

Having always been a lightweight in the drug and alcohol department i ended up passing out on the couch with the party still in tact only to wake up after most guests either puked their guts and and passed out elsewhere or just went home. Upon waking up in the pitch dark only with the music still playing, bizarre sounds were oozing out of the hi-fi speakers and exposing me to one of the absolute strangest sound journeys i had ever encountered at that period. This was the music of a friend who introduced me to the vast array of electronic music that i was rather clueless about at the time being a metalhead primarily at that age. To make it even more transcendental my buddy who worked at a hi-fi music store in the San Francisco Bay Area had one of the best sound systems that existed in the early 2000s.

Upon awakening my mind was blown into a million pieces as i sat there and listened to the most uncategorizable musical sound clips which in the morning i discovered was coming from the album WORSHIP THE GLITCH under the moniker ELPH VS COIL. Laying there soaking in the album in my state of mind with nowhere to escape i merely became one with the music that was specifically designed to showcase an unthinkable array of sound effects that can only be heard on the absolute best recording systems. While no album sounds as good on a YouTube video or regular stereo system, this was on a whole other level with an entire spectrum of sound effects that could only be detected on a hi-fi sound system that offered a wider spectrum of sound than the average.

Of course this experience affected me profoundly and although i had already known of COIL, nothing sounded like this one except perhaps a few early tracks that were compiled onto the first compilation of "Unnatural History." The ELPH VS COIL in reality refers to COIL itself given that ELPH was a pseudonym that John Balance, Peter Christopherson and Drew McDowall used for two releases that utilized computer mistakes from their own equipment and used as the sound effects that were organized into creepy, ethereal and eerie melodies that excelled at taking your mind on the wildest journey possible in the context of experimental glitch electronica. Following in the footsteps of the 1994 EP "Born Again Pagans" which itself was released under the moniker COIL VS ELPH rather than ELPH VS COIL, WORSHIP THE GLITCH polished the imperfections of that production into a serious gem of mind [%*!#]ery.

By mixing the sounds of computer glitches and forging them into bizarre samples and instrumental rhythms, the album is almost exclusively instrumental except for the rare vocal samplings of Aleister Crowley's wife Leah HIrsig which adds an even more bizarre sense of esoteric abstruseness to the mix. These guys even managed to include the track "Mono" which is a highly processed and unrecognizable cover of Nancy Sinatra's "Bang Bang (My Baby Shot Me Down." Esoteric references lurk around every corner but nothing is really more relevant than the music itself which represented some of the most creative expression of sound mistakes ever recorded and taken to such extremes. The holographic cover art pretty much symbolizes what you get as the bizarre worlds of dark ambient and glitch mix and meander with sound collages and electroacoustic psychedelia. Easily the most influential glitch album to spawn the genre that followed.

While it may be tempting to conclude that the album is only good under the conditions of my first exposure, i have often revisted this one over the years to see how it holds up on its own without the ample use of a drug high experienced in the dark on the best stereo system of the day. I'm happy to say that the ingenuity alone guarantees that for anyone seeking the most wildly experimental and creative fertile soundscapes conceivable, WORSHIP THE GLITCH more than holds up under the scrutiny of my now completely sober brain primarily judging its qualities on intellect rather than emotional impact. For me it works on multiple levels and although this is hardly the place for COIL newbies to begin their journey, for those well indoctrinated into the COIL cult who crave their most wild and unapologetic visions of true sound freedom, this will surely please them immensely if they take the time to really examine this beyond the initial alienation effect. Personally this one ranks very high in the mighty COIL's canon and although a bit too abstract to pull out on a regular basis, totally hits the spot like no other when such musical excess is needed.

After getting his feet wet in the world of recording with his 1970 debut "Logos," IGOR WAKH�VITCH returned a year later with his second offering DOCTEUR FAUST which took all the eccentricities even further with a wild display of unorthodoxies around every corner. This too would be the soundtrack for yet another Norbert Schucki ballet titled "Ergonia" which premiered at the Festival D'Avignon in 1971. The mysterious album offers no clues to credits regarding the large number of performers obviously on board but rumors that Magma's Jannick Top were among some of the primo talent to offer their services on this eerily surreal crossroads of modern classical, progressive electronic, psychedelic rock and sound collage effects seem to be the word.

A short running album of only 30 minutes and hosting seven distinct tracks, DOCTEUR FAUST still packs quite the punch with an incessant flow of varying styles that come and go with nary a reason why the music engages in a fully orchestrated classical symphony one minute and a hypnotic wild array of electronica and spoken word poetic prose the next. Obviously experiencing the music in context to the ballet itself would make most of this more apparent but given the relative obscurity of IGOR WAKH�VITCH in the modern world it's not so easy to track down a physical copy of the album much less witness performances of the ballet that was in the upper echelons of the avant-garde even during the freewheeling 1970s. Perhaps some footage exists at ballet colleges in France or on tapes tucked away in some archives.

This is a much more varied album than its predecessor with moments of dramatic classical music ceding into the kaleidoscope effect of stoned out psychedelic rock and mystical trance inducing progressive electronic with strange tape manipulations, bizarre chanting and thumping bass grooves. The instrumentation varies significantly with a multitude of drumming techniques ranging from military marches to frenzied rock modernities while Hendrix-Inspired guitar riffs in conjunct with bizarre wordless vocal utterances. The album doesn't let up for its short duration right up to the last delirious avant-rock freakouts of the closing "Sang Poupree." The album defies any true categorization and despite the word "ballet" being associated with it, DOCTEUR FAUST evokes no sense of the word as it is the strangest musical piece of work that the experimental world of the early 1970s could've conjured up thus making more than a qualified candidate to appear on the outsider weirdos Bible of freakery - The Nurse With Wound List.

This is definitely one of those tripper's paradise sort of experiences but not just for those who like to get blitzed out of their gourd and listen to repetitive patterns. This is a highly intellectual style of psychedelic which is as complex as it is unorthodox. WAKH�VITCH was a master of marrying the eccentricities of the world of classical with the most far out expressions that were emerging in the worlds of both the rock world and the newly gestating fertile grounds of electronic music. This is a wild ride unlike any other and the perfect score to evoke the real life antics of Johann Georg Faust, the German itinerant alchemist, astrologer and magician who haunted the German Renaissance and apparently continues to find his spirit evoked for strange works centuries later. The story will probably make more sense to French speakers but personally i feel the music speaks for itself. For a short 30 minute display of musical freakery, you really couldn't ask for a more diverse of array of excellent genre bending under one roof. Utterly brilliant but not quite as perfect as the debut for my ears.

4.5 stars. There once was a band called BLACK CAT BONES who released one album in 1970, and the significance of this is that members and former members of that band would go on to play in AARDVARK, some also leaving before they released their sole album also in 1970 but later of course. While others from these two bands would go on to form FREE. That hard rocking blues rock band with Paul Rodgers on vocals of course. These three bands have some major connections.

Interesting that FREE's guitarist played in both bands prior to them recording an album but he left both before that happened. So I think AARDVARK decided after he left that they would be a keyboard driven band with no guitar. A four piece of vocals, bass, drums and keyboards. I love this record. It's so consistent, no weak links at all and I just really enjoy everything about it. The vocals are great as are the compositions. Proto-Prog gets mentioned a lot with this band but they were more than that in my opinion. I like how one reviewer describes their sound as sympathetic, that works for me. And the reviewer who said the keyboardist Steve Milliner would play for CARAVAN? That was Steve Miller not this guy.

How about that opener "Copper Sunset" with the dirty, distorted organ that riffs madly, so good. I should have mentioned the drummer earlier because the guy kills on the kit, so impressed. "Very Nice Of You To Call" reminds me of the 60's with the vocals and lighter sound. A mid-paced beauty and checkout the vocal melodies to end it. "Many Things To Do" is quite powerful and catchy, another vocal track. "Greencap" has processed vocals and regular vocals and the tempo shifts often. Distorted organ brings Canterbury to mind. No this isn't Steve Miller. How about a bass solo? Yes sir! Piano too during a long instrumental break.

"I Can't Stop" has a mellow intro with floating organ before suddenly kicking into gear 2 minutes in, vocals too. Catchy with piano joining in. "Outing" is quite silly vocally for the first 2 minutes then it takes a deep dive into psychedelia that is very experimental. Did you know that Dave Hitchcock is the producer here and he has produced some rather famous records but he also is involved in playing on this track probably during the experimental section that dominates this 10 minute piece.

Some recorder on "Once Upon A Hill" the only track composed by the bass player, the singer did the rest. The closer "Put That In Your Pipe" has a hard driving sound to it with a powerful intro involving the organ of course. At 4 minutes it's more compact and more impressive as a result the way these guys play. The bass player shows his stuff then an intense ending.

I feel that Proto-Prog is my least favourite sub-genre and while they have this band under Crossover here almost everyone mention Proto so if it is, I just found my favourite of that style. Regardless this is an incredible record that fits my tastes perfectly.

A reluctantly-recorded album (to satisfy contractual promises) presenting three of the members of the previous album's lineup from two years before.

1. "Miles All Along The Watchtower" (6:05) everybody jumps out of the gate bouncing along with Miles-Herbie-like pace and focus, creating a groove that presents drums, bass, and Fender Rhodes as each demanding our attention in every which way. Electric guitars and horns are there in the background but it's not until the fourth minute that the horns and guitar (and clavinet) begin to make their presences known. Great whole-band jam. (9.125/10)

2. "High Life" (4:41) a song that goes dragging, plodding along with a semi-Native American melody line until some Hatfield and the North-like female vocals from Maria Archer brighten things up. A new synth acquisition solos after Ms. Archer breaks from her second verse and thereafter on the back of the rhythm section. Very, very nice sound engineering creating a very full and rich sonic field: It's so pretty! (9/10)

3. "Morning Sun" (6:45) slow, funky attempt at more Miles Davis-like music. But unlike the band's previous album, there are no tempo changes! Cool big-room reverb gives this an extra-large feel--over which a very cool sax is played with adept muting skills (and maybe an effect or two). Meanwhile, the electric guitar and machine gun-effected drumming do their best to vie for our attention. But then everything quiets down at the end of the third minute so that guitarist Roman Bunka can play around with his wah-wah pedal. Then Christian Burchard is given the nod to solo on his vibes--which comes off as a bit odd and feeling forced (he's just a guest, after all, not part of the tightly-bound inner corps). In the sixth minute everything really quiets down as dirging sax and electric piano take us out on a mellow note. (13.25/15)

4. "Gurus For Sale" (5:15) keyboard rich (Fender Rhodes), bass-thick (heavily-treated fretless bass) RTF-like music with alto sax barely in the lead (not exactly mixed front and center). Again I am surprised at the album's compositional homogeneity after the patterns established by their previous album. Maybe, as has been suggested, they really weren't into the recording of this album. Norbert D�mling is, as ever, eminently listenable as he ventures around the totality of his fretboard under the guise of his heavily-effected bass. (8.75/10)

5. "La Plage De Patcha Menga" (5:19) now here is some j-r fuse with some heart and soul: energetic and spirited from start to finish--with special citation to conga player �mnes and Northette-like b voxer Maria Archer. Definitely a beach that I'd hang out at! (9/10)

6. "Nothing Again" (10:02) more energetic, tightly played and interestingly-constructed jazz-rock fusion. Though the opening motif promises great dynamic things, the acoustic guitar solo in the second minute is played over a slowed down motif. Around 2:30 the band switches back into fourth gear for a nice cruise beneath the sunlight and wind of the saxophone. Great play from drummer Butze Fischer and, of course, bass player Norbert D�mling. Chaotic end to this section in the sixth minute leads into a spacey synth bridge that is gradually filled by a heavily-effected electric bass guitar solo and skeleton crew of congas, hi-hat play, and BRAIN AUGER-like three-chord repetition of Burkard Schmidl's Fender Rhodes. When Norbert's bass returns to rhythm and funk leadership, Burkard's right hand begins a very stylish and groovy solo reminding me even more of Brian Auger, but then at 9:15 everybody breaks back into the fast lane of a recapitulation of the opening motif. (18.5/20)

7. "Patscha Menga Underground" (3:40) flute-led funk from Friedemann Josch over bass and simple drum and percussion play. Sax, synth and flute carry the nearly-Oriental melody in the second minute before two airy flutes take over to carry us through the final 90 seconds. Interesting! Nice. (8.875/10)

8. "For Eri" (2:58) Burkard Schmidl's jazzy lounge piano from another era--or from a film--is joined by Norbert D�mling's sexy bass--both exploring their own intertwined melody lines as if dancing or in flight. Quite lovely--and very mature sounding. Definitely a favorite. (9.75/10)

Total Time: 44:45

A-/five stars; another minor masterpiece of peak-level First Wave Jazz-Rock Fusion (bordering on Second Wave) and another European product that no J-RF lover should miss.

A M�nchen-based band whose lineup and sound changed and morphed with each release, this being their second despite previous incarnations with other band names. On this album they display extraordinary, top-tier Jazz-Fusion skills over the course of some truly memorable song compositions.

1. "Julia" (3:54) despite a rather chaotic opening, this song moves into a motif in the second half of the first minute in which great piano and flute play is mixed in with all the others as the band rollicks through some psychedelic funkiness. (8.875/10)

2. "20th Century Break" (5:02) great spirit and melodies built on a fun, funky (and familiar) sound and rhythmic pattern. Again, I love the way the piano drives this one but also how the horns assist the whole way along. The fourth minute features a refreshingly-unusual clavinet solo, but then we're back to the clever and melodically-mutually- supportive AREA-like multiple thematic expositions for the close. (9.33333/10)

3. "Geisha" (5:23) very solid rhythm base of piano, drums, and clavinet with electric bass seeming to go off on its own melodic journey while two flutes smooth it all out. Very Chick Corea-like though even stronger in places (that bass!) I love the fact that the pianos (2?) and clavinet are playing off one another throughout the entire song. And the groove is so infectious. Definitely a favorite of mine--a top three song, to be sure. Norbert D�mling is one interesting cat! (9.5/10)

4. "Vacuum Cleaners Dance" (5:17) another chaotic/psychedelic start that eventual irons out into another hard-driving heavy jazz-rock flute-led composition. The lead flute player performs like Thijs van Lier or Ian Anderson when they're at their craziest but, overall, I feel that this is a Mwandishi-era Herbie Hancock song played by Milanese band AREA (with Freideman Josch's flute supplanting Demetrio Stratos' vocal acrobatics). Solid and definitely entertaining. (9.125/10)

5. "Paranoidl" (4:20) a straightforward start, solid rhythm section with wild Hammond organ play throughout the somewhat-slower first half. Then the band switches into high gear with some crazy bass playing, Fender Rhodes, wah- wah rhythm guitar, and frenetic sax soloing. The song feels like something like Canterbury-infused NATIONAL HEALTH and Jazz-Rock-oriented AREA co-mingling on stage, taking turns imposing their leadership in the different motifs. The musicians are all so dialed into this one! (9.25/10)

6. "Fly Away" (7:46) after a long drawn out two-minute intro, this song congeals into, at first, a great horn-accented big- band jazz-rock but then turns to a more melodic "pop" jazz feeling sound for a few bars, but then it kind of returns/reverts to the slowly in-fading intro motif as if to restart or rebuild toward that whole-band, big-band motif. It's not until the five minute mark that any true solo gets underway--tenor saxophone--as a synth slowly fades in to counterpoint from just beneath before being faded out for Fender Rhodes and electric piano. An unusual (and pretty innovative) circle of constantly-rotating soloists ensues before they all mysteriously synch up together in the final 30 seconds! How cool! (13.75/15)

7. "Talle" (5:40) less jazzy, more proggy folk-rock, even with a saxophone occupying the lead position. The drumming in the first 90 seconds is the one thing keeping this from falling into pop-folk. Kind of a stylistic mix of something between Al Di Meola and Bob James. Also, a lot less adventurous compositionally though some of the individual performances are note-worthy: particularly the bass and multiple acoustic guitar tracks--the latter which turns electric rhythm in the slightly funkier TRAFFIC-like second half--and the flute in the third minute. (8.875/10)

Total Time: 33:22

This band is so tight! The precision synchronization of their play is quite remarkable--not to mention the proficiency of each and every band member (some on multiple instruments).

A-/five stars; a minor masterpiece of refined and sophisticated Jazz-Rock Fusion. A must-hear for you J-RF fans.

Clive Stevens and "friends"' second and final album together--both published within the same calendar year. Multi- instrumentalist Ralph Towner and guitarist John Abercrombie return from two years before while the rest of the rhythm section has been replaced.

1. "Shifting Phases" (6:55) a great galloping horseback riding rhythm track over which John Abercrombie's jazz guitars and Clive Stevens' saxophone swoop and soar; great energy straight off the bat with the bass, drums, and rhythm guitar's funky groove. Great engineering in that every instrument is fully defined--though I don't like the dirty distortion effect used on Ralph Towner's Fender Rhodes electric piano. I like the fact that each of the instrumentalists remains actively engaged and creatively contributing while other band members are having their turns soloing. I'd give this full marks were it a little more memorable in the melody department. (14/15)

2. "Culture Release" (6:50) The song opens up with some impressive whole-group showmanship over the course of 30- seconds of complex chord and melody transitions but then the song settles into a high-speed R&B form within which clavinet, guitar, and soprano sax trade lightning fast bursts of soloing; it's constructed like a geometrical mathematical until the soloists (clavinet, electric guitar, sax, electric bass, and drums) start trading barbs at the end of the first minute, then it sounds like Todd Rundgren's first Utopia album. Drummer Michael Thabo Carvin gets the clear-out effect for an extended isolated solo in the third and fourth minute, and then everybody comes back together just like at the beginning as if they were calmly starting over: no problem! And the jam continues! Great performances--even Michael Thabo Carvin's extended drum solo--considering the lightning speed of the main rhythm track. Never quite heard the clavinet solo like Ralph Towner plays it here. Very impressive--though, again, I wish there were more attention to melody than riffing. (13.5/15)

3. "Inner Spaces and Outer Places" (5:15) slowing it down with some low-end chord play from Stu Woods and Ralph Towner while John Abercrombie's guitars and Clive Stevens' multiple horns loosely provide a lazy, unsynchronized melody over the top. In the second minute the sonic field thins as the low-end chords stop while two guitars solo, at the same time, as if in completely different universes! Saxes and Fender Rhodes give a kind of Steely Dan support while the rhythm section offers a solid foundation beneath. Weird that I find myself listening more to Ralph Towner's chord play, Stu Woods' bass lines, or David Earl Johnson's congas more than the rest; I guess I'm not much of a fan of either of the guitarists' sound choices or their soloing styles. (8.875/10)

4. "Un Jour Dans Le Monde" (4:43) aqueous and dreamy soundscape established by Ralph's Fender and Clive's saxophone. The gentle arpeggiating of the guitar tracks also helps. This is the kind of song that is challenging for percussionists to contribute to without disturbing the mood--bass, too--but Stu, David, and Michael do a fair job. Nice melody established from the beginning and perpetuated nicely by Clive and the John Abercrombie throughout the entire song. Nice song texturally but sometimes a little draggin' (9/10)

5. "Voyage To Uranus" (5:52) opens side two as if a continuation or variation on the previous song with sax leading the melody and guitar, Fender, and percussion helping to fill the field with gentle, dreamy stuff. Once the intro is moved passed, the rhythmatists establish an equally-gentle and -melodic foundation over which Clive solos. There's a little Bob James-like feel to this music despite a slightly-more-active bass and percussionist. Clive's solos are rather engaging, not off-putting as so many sax solos can be (for me), but Ralph's Fender Rhodes work (and John Abercrombie's rhythm guitar work) is a bit too saccharine like so much of Bob James' arrangements. (8.75/10)

6. "Electric Impulse From The Heart" (4:15) opening with a rather mysterious yet-melodic arpeggioed keyboard chord sequence similar to many of JEAN-LUC PONTY's songs over the next ten years but, at the same time having a little RETURN TO FOREVER/MAHAVISHNU edginess to it--all in rather gentle support of Clive's effected saxophone play. The hypnotic song slips by so quickly that I find myself surprised each time when it ends. (8.875/10)

7. "Water Rhythms" (8:44) a one minute long intro that seems to be built around a jazz-rock-infused R&B motif turns into a more forward-moving smooth jazz motif with some heavier drumming, more dynamic soul-R&B rhythm guitar strumming, slightly more brash sax and Fender Rhodes soloing--all of which takes it out of its smooth categorization and places it firmly into the realm of some kind of neighborhood-cruising R&B. In the last two minutes a rising-and- then-falling sequence of full chords of ominosity repeat themselves a few times before the band brings it all to a crashing end. Interesting. Not my favorite but a solid, decent song. (17.75/20)

8. "Return To The Earth" (5:15) Clive on flute is supported by 12-string guitar picking and delicate bass and drum play with rich electric piano arpeggiations and chord sequences. At the end of the third minute John Abercrombie's electric jazz guitar solos as Ralph Towner accompanies on one of the 12-strings. This is more like the kind of stuff I was hoping for! With all of the tracks of guitars plus Fender Rhodes it is obvious that Ralph and John are each using multiple tracks--and these are the tracks that my brain gravitates to. An interesting--and totally unexpected--way to end the album! (8.875/10)

A collection of very impressive performances, to be sure, coming through in interesting, unusual compositions. Though I like the sound engineering better on this album than it's predecessor, I like the dynamic diversity and whole- band entanglement of their debut better; this album feels more like a Clive Stevens album whereas the eponymously- titled debut felt more reliant on collaboration.

B+/4.5 stars; a near-masterpiece of melodic jazz rock fusion. While there are some songs not to be missed here, there are several that just miss the mark.

Raw Jazz-Rock Fuse from Bristol, England-born bandleader Clive Stevens. Recorded in New York City on February 5th, 1972, with reputedly no rehearsals (three months before the demise and official breakup of John McLaughlin's first incarnation of the Mahavishnu Orchestra), why it took over two years for this album to be released is a mystery I'd like to know more about. Seeing this lineup of all-stars, I found myself especially curious--and excited--to hear this.

A1. "Earth Spirit" (5:30) opening with Rick Laird's bass right up front and center, then Billy Cobham's hi-hat, and Ralph Towner's dirty Fender Rhodes before Clive Stevens' soprano sax and the two guitarists join in, taking turns with Clive soloing over the top. Nice R&B-based groove, nice jam, nice melodies, not as nice sound engineering as on the band's next album. (9/10)

A2. "Nova '72" (5:52) the Mahavishnu rhythm section make themselves known right from the opening notes of this one, a fine piece of jazz-rock fusion that seems to suggest that the funk-rock direction might have been the direction half of the MO had wanted to travel when they were falling apart. Billy's drumming is rock solid while Rick Laird's bass play is fluid and attention-grabbing--as is the great Fender Rhodes play of Ralph Towner. Clive is the leader and his tenor sax is awesome though I am not much of a fan of the sax (except in big band horn section lineups); still, Clive's play is more enjoyable than 90% of the other sax players/solos I've heard. I find myself glad for guitarist Steve Khan and John Abercrombie's assignations to background positions. (9.25/10)

A3. "Yesterday, Today & Tomorrow" (6:40) a cool, danceable, almost-Earth, Wind & Fire rhythm track is established with Billy Cobham once again performing in his most commanding, rock channel with Rick Laird holding down the funk while Ralph Towner and the two guitarists literally flail away at their instruments beneath Clive's soprano sax solo. This one is interesting! How Billy and Rick can hold it together while Fender Rhodes and two electric guitars are livin' their best lives above! But somehow the craziness works! It blends, it fuses, it flows! Weird! (9.33333/10)

B1. "Astral Dreams" (9:21) another R&B track is established straight out of the gate while odd percussion instruments are employed with more restrained and conformed rhythm play from Towner, Khan, and Abercrombie. Nice melodies instituted by Clive on a treated soprano sax--solid enough to allow him to wander off every switch in motif into some pretty cool solos before coming back to the main melody. At 3:00 the band moves into a kind of dreamy bridge that allows them to reset before picking right up where they left off. A very melodic, almost STEELY DAN-like jam that really works for me. At 4:55 Steve Khan gets his first turn at an isolated solo--and it's decent (with special thanks going out to Billy Cobham for his awesomely dynamic support)! Rick Laird is just killing it: holding his own melody-production seminar despite all that's going on around him. Ralph is next on his Fender Rhodes before giving it up to Clive again-- with Billy again flailing wildly in the bridges. (Wish his drums were recorded better--and mixed more integrally into the overall mix.) (18.5/20)

B2. "All Day Next Week" (6:50) opening as a sophisticated multi-themed jazz pop piece, the song shifts into smooth jazz-rock at 1:15 for a different motif before coming back to the more sophisticated jazz-pop at the end of the second minute. The laying back for soloing begins thereafter with Fender Rhodes, electric guitars (Steve and John each getting a turn) before Clive gets his say. Again, the play of Rick Laird over Billy's rock-solid drumming is so important! so necessary to the freedom offered to each of the other instrumentalists. The song never really presents us with anything extraordinary (other than Rick Laird's amazing and melodic bass play), but it's still great. (13.75/15)

B3. "The Parameters of Saturn" (5:47) an experimental foray into the crazy world of free-jazz with each and every instrumentalist going off in their own directions, some quite melodically (like the anchoring effect of Clive's calming sax), some more freely without regard for melody or matching rhythms with the others. Interesting and, because of Clive's calming presence in the eye of the hurricane, surprisingly listenable! (8.875/10)

I must say that, despite poor sound representation of Billy Cobham's drums, he and fellow Mahavishnu Orchestra alum Rick Laird put on a clinic on how important the rhythm section is to the confidence and comfort of a band's individuals and whole. It is told that this was Billy and Rick's only studio session outside of John McLaughlin's torrid and demanding schedule during the entire run of the MO. Also, it's too bad that percussionist Harry Wilkinson (Larry Coryell)'s work is mixed so deeply into the soundscapes cuz we all know he can be a force.

A-/five stars; a minor masterpiece of peak Jazz-Rock Fusion This is an album (and group)--like its successor--that deserves more attention with regards to its place in the history of the formation and evolution of Jazz-Rock Fusion.

Ask any fan of Emerson, Lake & Palmer what was the worst album they released in the Seventies and the answer will be the contractual obligation, 'Love Beach'. Not long after, Palmer formed his own band, PM, and even though there was no official announcement it was obvious ELP was over. Given their huge success, it is no surprise that in 1984 talks were held about reforming, but by then Palmer was in the hugely successful Asia and did not want to be involved. After auditioning a series of drummers, Emerson asked his old friend Cozy Powell if he wanted to be involved, which by happenstance also allowed the band to retain the ELP abbreviation. Their sole album was released in 1986, going Top 40 in both America and the UK, but after a disastrous tour, during which they fired their management, they split up. Palmer would come back to the fold and with Keith Emerson would form the new band 3 with Robert Berry, who would also last for just one album, before the classic line-up came back together in 1990.

I have always felt the two trio releases involving Emerson in the Eighties are somewhat overlooked by fans of ELP, yet they are both excellent, as this new 3-CD boxed set displays so well. What we have here is the album (with three bonus tracks), their live album, 'Live In Concert' and a CD of rehearsals, 'The Sprocket Sessions'. All material included in the box set has been re-mastered by renowned engineer Andy Pearce which also includes an enhanced booklet with sleeve notes written by Prog Magazine editor, Jerry Ewing.

I fully remember this being released and picked up the pre-recorded cassette (those were the days) as soon as I could. I did not know what to expect but was fully aware of Powell's work with Rainbow and Whitesnake, and even remembered him performing "Dance With The Devil" on TOTP. I certainly did not expect an album which commenced with classic ELP sounds and styles with "The Score", and when Lake got to the chorus and sang "It's been so long you're welcome back my friends, To the show that never ends" I was ecstatic. It didn't matter we had a different "P", the band were back and playing classic music, linking back to "Karn Evil 9" for their fans. The music had shifted in that it was more commercial, especially "Touch and Go", yet not so overtly as Asia, somehow bridging the Seventies and Eighties. Emerson was also convinced by Powell to undertake a recording of "Mars, The Bringer of War" which is one of the standout tracks, albeit the style being somewhat different from other classical covers the band did in the past.

Years after this was originally released I went to see the wonderfully bawdy musical 'Sinderella' featuring Jim Davidson, and I was somewhat surprised to hear some of these songs played during the performance (Davidson and Emerson were friends, hence the use of "Karn Evil 9" for 'The Generation Game'), yet I was also pleased as I felt this album was overlooked by many. The rehearsals and live recording add to the overall story in that we hear Cozy performing on some classic numbers (his style is very different indeed to Palmer), and overall this set brings back to life an album from a band who deserved to be around for much longer than the short time they were.

"Digital Noise Alliance" is the sixteenth full-length studio album by US power/heavy metal act Queensr�che. The album was released through Century Media Records in October 2022. It�s the successor to "The Verdict" from March 2019 and features a couple of lineup changes since the predecessor as guitarist Parker Lundgren has been replaced by Mike Stone (who previously played with Queensr�che in the 2003-2009 period), and drummer Casey Grillo has been added as a permanent member after Scott Rockenfield didn�t return (he didn�t play on "The Verdict" either, where the drums were recorded by lead vocalist Todd La Torre, who also happens to be a capable drummer). Rockenfield took a longer paternity leave, but his status with the band was uncertain for quite a few years, before lawsuits between him and the other two remaining founding members Michael Wilton (guitars) and Eddie Jackson (bass) put an end to his time in Queensr�che.

"Digital Noise Alliance" is the fourth La Torre fronted Queensr�che studio album after he replaced Geoff Tate in 2012, and it further cements the musical direction which Queensr�che returned to after they fired Tate. The last couple of Tate-fronted Queensr�che studio albums weren�t well received and many fans felt that the band were going through the motions...and in retrospect that�s probably exactly what was happening, and change was needed and ultimately happened. The 2013 eponymously titled "Queensr�che" album introduced a more power/heavy metal oriented style, where it was obvious that the band were searching for a sound closer to their late 80s/early 90s heyday, and with the new energy and strong vocals of La Torre they arguably succeeded in giving the fans what they had been craving for a number of years. Melodic and catchy power/heavy metal with an occasional commercial edge, but still not mainstream in a pop/rock fashion.

Since then they�ve continued down that same path and with a couple of more good quality studio albums under their belt with La Torre fronting them, it�s no surprise that "Digital Noise Alliance" is more of the same high quality melodic power/heavy metal which Queensr�che have been exponents for in the last decade. La Torre is still an expressive and skilled singer with a voice which sounds like a combination of Geoff Tate and Bruce Dickinson (which are definitely not the worst singers to be compared to), and the band are as well playing as ever (lineup changes or not). This is sharp, melodic, catchy, hard rocking, and clear sounding power/heavy metal, which is packed in a detailed and polished sounding production, which suits the material well.

It�s maybe a bit too nice sometimes and I�d love to hear this incarnation of Queensr�che really let loose and cut some of the polished production values and atmosphere enhancing keyboards. When they are most raw and heavy metal oriented (like the verse section of "Sicdeth" or the heavy riffs and rhythms on "Behind the Walls") they sound incredible. On the other hand they are still masters of producing beautiful harmonies (both with guitars and vocals) and it�s a big part of their sound, so it wouldn�t be Queensr�che without the melodies and the polish.

Upon conclusion "Digital Noise Alliance" is another good quality power/heavy metal release from Queensr�che. There are no surprises here and if you enjoyed the last couple of albums this one will be right down your alley too, and that�s maybe the only complaint I have with latter day Queensr�che. Their will to experiment and try out new things are pretty much gone and although they arguably produce high quality music, they�ve locked into a groove now and their albums sound a lot alike. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

I was very excited to make this review, I haven't listened to this one in a while, and I think letting it sit for a while has helped me gain more appreciation for it. However... I think this album still has some major issues, it's certainly not all bad, but not my favourite by any means. This album was especially difficult to review based on how it's formatted as well, and just how much goes on both musically and in the story. This was an ambitious project, and I can commend them for trying this approach to creating an album, and at least partially succeeding. But it just feels like this one didn't quite stick the landing for me. This was made at the point where they had promised 5 albums by the end of the year, and possibly by this time constraint had pushed this album out maybe a little too early. This is the 2nd of the 5 albums that were released during 2017, and to me it's clear they had some creative drains. I do appreciate the fact that this album sort of absorbs some of the compositional techniques used in their previous albums, showing some improvement by incorporating elements they've used before (such as microtones, garage rock style riffs, and increased use of synths). This album is certainly better listened to in full (which proves to flounder and thrive in various ways). To make this easier on the formatting, rather than organising by songs, I'll organise by parts.

Altered Beast: This section has some really great bits however the focus is all over the place. Considering there's sometimes melodies, counter-melodies, 2 different drums, synths, narration/vocals sometimes all at the same time, it can be a tricky task to balance. I think it does well in some cases like Altered Beast I, II, and IV, but in III especially when yet another melody is added onto the pile it gets difficult to follow what's happening melodically. Because of how this section is chopped up in various sections, there's just a lot happening plus the addition of the bouncing between the narration and the vocals, the section can't pinpoint exactly what it wants. Also because the section continuously jumps back to the Alter Me theme, you kind of just have to go along with its peculiar formatting. This is further pushed by the fact that the songs aren't very individual and have to be listened to all-in-one to even understand what's happening in the lyrics. I enjoy concept albums a lot, however this one just has too much going on. Now where I think this section shines is the blending of the instruments. If you approach each individual section and riff, they are genuinely really cool. The section at 1:29 in Altered Beast I is awesome with how it uses the really aggressive synths to play that melody. The mix of using distorted guitars and clean guitars (sometimes palm muting or using various pedals/effects) is a really cool effect I haven't really seen done simultaneously before in metal, though that might just be me. I also really enjoyed the use of synths in this entire album, even just the intro "A New World" uses the 'I think I see an altered beast by the tree' melody but using only synth, which works great as a setup. As well as that song introducing the aggressive nature of the rest of the album. The double panned drum kit will always be a favourite of mine, especially in these complex time signatures. Finally, the harmonica trading in Altered Beast II at 1:46 is a great highlight and I think adds onto what Nonagon Infinity did really well, incorporating the instrument in a more aggressive setting (also the ending of that song kicks so much ass). Rhythmically speaking this section definitely has the most interest, with it flipping between various time signatures and themes. They definitely challenged themselves with this album to work with more difficult rhythms and time in a hard rock context, using a lot of 7, 9, 11 based time signatures across the album. Altered Beast II is based in 9/8 and 9/4 generally and has a really fun continuous rhythm that plays nearly throughout. The riffs in the entire album don't give a lot of breaks, and are always doing something, which keeps the intense feeling for a while but can get pretty draining especially near the end of the album. Sometimes we get tempo changes like in Altered Beast III, but I'm not a fan of those particularly. The stop and start again in Altered Beast IV however sounds great using the guitars to build back up. I think that this is an issue that only partially crops up during this section, but the Alter Me theme gets tedious to me especially when getting to Alter Me III. What saves it partially is the dynamic change near the end of II and into III, which digs into Stu's falsetto, which I hold very dear to my heart. The story and narration are certainly front and centre in this album, and has something very similar to I'm in Your Mind Fuzz with the idea of mind control and corruption. I think the narration works to some extent during this section, with the voice done by Leah Senior, it can be very amusing to see her talk about such gruesome ideas happening in the story. It can be very distracting however from the melodic ideas happening in the background and vice versa. I'm pretty torn on whether I like or dislike it because of how it's placed in the context of the songs. The outro 'Life/Death' is one of my favourite bits because it hones in a lot more on the narration, and uses some cool effects to accompany it, like the sound of the altered beast dying which sounds awesome.

Lord of Lightning/Balrog: I think that all in all this section has some similar issues with focus, but it's not as bad as the first section by any means. The themes are more solidified with specific songs generally, and the songs are longer so there's a lot less intense back and forth juggling of themes. It's just the narration once again infiltrating the song a little bit too much for my liking. This section sets up in a similar way with the song The Reticent Raconteur using synths to do the theme before actually singing it, in this case it's the Lord of Lightning theme. There's some fake throat singing happening in this section, which I do like how it bookends the first and last songs of this part. The lyrics in this part are some of my favourites like the 'You made the atom split, it caused a massive rift!' line in Balrog that I love. Floating Fire as well has some cool descriptors like the 'Sky is bleeding hair' line. The lyrics are certainly very well thought out, and are very detailed in their descriptions, which I do enjoy just reading them like a poem-story more than anything. The effects on this part in particular are used really well with the synths and guitars doing a more show don't tell approach. For example the guitar feedback plus the spam tapping makes for a really cool lightning sound effect throughout the songs. That distorted effect is just so neat to listen to honestly, it adds to the intensity in a clever way while aiding the actual story. There's an organ used in Balrog that adds some new colour to the songs interlude as well, giving a very unholy vibe to what's happening. Also the end of Balrog with the callback to Trapdoor using a really strange sound effect I can't even name, but it sounds sick! Speaking of, there's a ton of references to other albums in this album. I didn't mention it, but the Evil Death Roll bass happens in the first part. This part features references to Nonagon Infinity in some really subtle and very obvious ways. The first song of this part 'Some Context' is literally just People Vultures, Lord of Lightning also just straight up has the lyrics 'Nonagon, Nonagon, Nonagon Infinity!'. However, as I mentioned in the Nonagon Infinity review, that line in particular actually uses the same melody as a small section of Big Fig Wasp, just slowed down. That was mind blowing to discover initially, and will still be one of my favourite callbacks they've done. Lord of Lightning also has a bass line from I'm in Your Mind Fuzz at the end. And of course the Trapdoor reference at the end of Balrog. Side Tangent: I'm really curious why the Trapdoor theme was placed there of all places because in this section they talk about the beginning of the battle and not the Balrog itself. I would presume that they kind of shoehorned Trapdoor into the storyline seeing as how ambiguous the lyrics are and how the video isn't particularly relevant as far as I can tell. I think having a returning theme like this was really cool to listen to as a fan, but to me it seems a bit weird to place it on this part of the song specifically. I can brush it off because it actually is a really sick reference. The reason I mention all of these references is to dictate how carefully they will approach these albums. Callbacks are some of my favourite things to hear in music, especially cross-album stuff, so props to these guys for just going at it and adding a bunch in this section for story reasons. Another reason is that they very rarely use the themes head-on (besides Some Context) and will usually change them slightly to be a little bit more difficult to see on a first listen, if you know their other music well.

Han-Tyumi and the Murder of the Universe: Another synth heavy intro, which seems to continue the formula they've set up here in the three parts. It's strange how something so chaotic could be considered predictable under these circumstances. I enjoy it, but hearing a very similar setup 3 times in a row feels like it's pushing it a bit. This part definitely feels a lot better organised, with some songs dedicated to Han-Tyumi, and some to Stu's vocals. The riffs are a lot more consistent, and granted they're not my favourite, the songs tend to hold their own pretty well. The highlight of this section is certainly the bionic voice using the text-to-speech 'UK, Charles'. Han-Tyumi (anagram for Humanity) closes off the 3 parts with a story about vomiting and accidentally killing the entire universe. Honestly, I was kinda disappointed with this ending a little bit. Don't get me wrong, it's certainly an interesting concept, especially with how it delves into the bizarre mentions of sex, pleasure, and galaxies from a self induced munting session. I just think personally it goes on too much of a tangent, and after about the 5th time they mentioned various descriptions of vomiting, I got the point. This section had some really strong moments especially in the beginning of the title track 'Murder of the Universe' and songs like 'Digital Black'. It's just that in comparison to the other sections, it feels somewhat lacking in something new. The voice is great, but it's not enough for me personally. It reuses a lot of the sound effects and synths already heard, which is not necessarily a bad thing, but that's another thing that's holding me back from liking this section as much. Okay I will admit though that the Soy Protein Munt Machine is absolutely hilarious, and especially when the voice kicks in.

Issues: This album tried to do too much in too little time. It can be incoherent and distracting at times with just how much stuff it's trying to accomplish. It somehow also manages to be tedious with its themes on top of everything. To me, especially nearing the end, it just doesn't manage to stick the landing with its final act. This album is great in concept, but they certainly did the best they could under the circumstances.

Strengths: There were some pretty strong melodies on this one, maybe like a 60/40 good to meh ratio. The lyricism could be really interesting and unique at times with how expressive they were. There was really great use of synths and mixing as well. From a purely storytelling point of view, it's really cool! Just maybe needed more fine tuning.

Overall this album has some good and some bad, but it's certainly an accomplishment of the band nonetheless. It was a difficult thing to pull off, and if anyone could even come close to doing something as intensely creative and experimental as this in a hard rock setting, it's these guys. I'm giving it 3 stars, though for me it's somewhere in the 3.4 stars range.

HECENIA were a trio from France releasing two studio albums before calling it a day. The vocalist was from the band ELOHIM who released one album in 1983. His brother was the guitarist in that band and it says here that they used his pre-recorded guitar parts on three tracks here. And since the vocalist only sings this is essentially a duo instrumentally with the keyboardist using the drum machine and the bass player adding some guitar parts.

Vocals are in french and the music is a symphonic/neo blend but the fake drums are such a negative for me. They did get a real drummer on their second and final record from 1994 an album I also gave 3 stars to. I consider 1987 to 1991 the dark ages of my music and that was actually one of the reasons I picked this 1989 release up as I was hoping for a hidden gem that might make my top five for that year. Nope.

"Legendes" is not a bad record at all despite my comments but it's not one I'd recommend either despite it having it's fans. 3 stars.

SILHOUETTE are a Dutch band who formed back in 2004 and they released their first record in 2006. This is their most recent from 2017 and the majority feel this is their best release so far. This is album number six and they have also released a DVD in the same year of 2017. This is a warm, melodic album with nice vocals and they certainly added some new flavours here with guests adding violin, oboe, french horn, flute and even some soprano vocals. I would call this a Neo/Symphonic mixture.

A 50 minute recording with six tracks including the 18 minute "Symphony For A Perfect Moment" which is certainly the big attraction here, the best thing they have created according to many. I also really dig the shortest piece on here under 3 minutes called "Sakura" which is an instrumental with guitar and atmosphere mostly. But those first three tracks before the epic really set the tone to this album. Neo prog is very much hit and miss for me, mostly the latter but here is a fine example of doing Neo right.

As an aside I actually knew a guy who was convinced that the Earth is flat and the reasons why etc. and he certainly wasn't shy in expressing this view despite the evidence to the contrary. This album is the real deal though and one I think Neo fans should track down. A nice record.