Reviews (all) - Progarchives.com

SER� GIR�N Bicicleta (Prog Related, 1980)

Thu, 27 Aug 2026 18:54:28 EST

Review by Heart of the Matter — The band kicks off the ball showing a clear evolution in sound and scope, a quite noticeable departure from the
dark visions encoded in their sophomore effort, La Grasa De Las Capitales, conducting to a deeper insight into
the nightmare of dictatorship, but also leading to a seemingly lighter tone that changes paranoia for a cool,
distant view that freezes out instantly every reflex to look away, and serves the horror in cold light.
The opening mini-suite, A Los J]]>�landscape of the era, coloured by Garc]]>�musicians. Cu]]>��definitive sound, sharp and sweet at once.
But the true turning point in the unfolding of the story comes with Canci]]>��horror tale comes across as seen through a long keyhole: close at hand, yet untouchable. But we can also trace
to this point the inflexion of Garc]]>�well, show the procedures leading to a different kind of complexity. No suites or dense arrangements anymore,
but songs created merging contrasting textures, articulating very different vocal tones, and keeping the pace
with an ever-changing rhythmical interplay. Not forgetting, of course, the classically originated influence, now
oriented to feed the more compact song form we were just talking about.
What else? More gems from Leb]]>�playing synths, and the rocking moment of Mientras Miro Las Nuevas Olas, an affectionate nod (and maybe an
invitation) to the return of the past via New Wave.
A masterpiece of many faces.

PHIDEAUX AutoMoto Animus (Crossover Prog, 2026)

Thu, 27 Aug 2026 18:08:57 EST

Review by Prog Dog — [Fave Tracks: Charlie Knew, Legend of Mary Jo]

My four-word review: Excellent, and damn fun.

Anyone familiar with Phideaux Xavier will probably find this review interesting, because I'm a total newbie to his
music. So don't get mad at me.

I more or less ignored prog rock for 30 years after being an early appreciator of the genre. And while Phideaux's
Automoto Animus isn't an overtly progressive-rock album, and doesn't profess to be, there's no missing the prog
influence. ProgArchives even categorizes it as crossover prog, and I can hear why.

Right off the bat, what appealed to me about the album is how much it feels rooted in the '70s and especially the
'80s. I'm hearing touches of Meat Loaf, Queen, David Bowie, Elton John, ELO, even Billy Idol on the opener track'
not necessarily in a direct, 'this sounds exactly like X' kind of way, but in its sense of melody, theatricality, and
musical personality. I was even reminded of The Lamb Lies Down On Broadway/Genesis during the 14 minute finale
'The Legend of Mary Jo'.

Automoto Animus is a super likeable album. I'm usually less interested in lyrics and more drawn to melody and
instrumental execution, but I've been finding the words here equally irresistible. Phideaux has a focused way of
addressing the listener that reminds me of David Bowie and, at times, Peter Gabriel. There's something very direct
and intentional about the way he delivers these songs.

The music isn't exactly lightweight, but it has a breezy playfulness to it, and there's a sharpness of wit behind the
songwriting. This is intelligent pop with lots of musical twists and personality that keeps my prog ears perked.

What fascinates me most about the album is the way each song feels like a monolith of songwriting and production.
There's an almost impenetrable quality to the way these tracks are constructed. Every song feels fully formed, with
a palpable sense of self-confident soulfulness, as if every possible weakness has already been identified and
eliminated.

That's a strange thing to say about an album, but it's one of the things I find most attractive and remarkable about
Automoto Animus. Nothing feels tentative. The arrangements, melodies, production choices and performances all
seem to know exactly where they're going. The songs don't so much unfold as stand there, fully realized.

Instrumentally speaking, there's an abundance of really interesting guitar work and tones throughout the album.
The keyboards and piano also play a big role overall, but it all strikes a nice balance. The drums are, for the most
part, relatively straightforward, but soulful and anchoring. And then there's the saxophone. I'm a bit particular
about sax'I love the way Bowie, Duran Duran and David Sylvian/Japan have used it, but it can easily go the other
way for me. Thankfully, it's all good here.

So despite how pressure-tested and rock-solid everything feels on this album, it remains fun and inviting without
ever becoming overly self-serious. It's good to know people are still making adventurous, genuinely enjoyable
albums with prog-rock leanings. There's plenty of ambition here, but it never gets in the way of the fun. I give
Automoto Animus a 4.5 out of 5 dog bones rating, or rounded out to 4/5 for the esteemed progarchives.

S�GUIN Festin d'Amour (Prog Folk, 1976)

Thu, 27 Aug 2026 15:10:53 EST

Review by Sean Trane — S]]>�prestigious guests (Valiquette, Locat, Ouellet, etc...) are around to enhance writing-wise as well)
the album, which Marie-Claire again designs and decorate the gatefold sleeve. Like in the previous
R]]>�the expense of the group members, IMHO.

Opening unexpectedly on the banjo jig piece Global Refus, the middle section has a certain Fairport
feel. A violin and a cello grace J'Avais Oubli]]>�standard V'l]]>�Bamboche. But we're waiting for the 7-mins+ Galadriel piece and indeed, it's the album's best
moment, where the music developments and arrangements approach the symphonic movements.

Le Silence opens the flipside, but the string arrangements drown out the song's heart. Allison is a
foray into medieval folk, armed with Gilles Vignault's texts and it is a highlight of the album, but
the "rock" side is not part of it. A little later, L'Homme Du Nord is another piece that mixes folk
and progressives arrangements and at times one can think of Harmonium's l'Heptade. The closing
Crepuscule has Marie-Claire improvising vocals over a great instrumental background. In a way,
Cr]]>��
At the height of their popularity, the S]]>�careers, which would both involve their Harmonium buddies. Though Richard's collaboration with
Fiori is well-known, Marie-Claire's first two albums are filled with Harmonium alumni. Festin is a
star-studded affair, but allow me to prefer their first two more intimate creation, because they had
more poignant moments. Over the course of their four albums, one can compile of excellent
progressive tracks that would make it an essential compilation of Quebec orog.

YES Fragile (Symphonic Prog, 1971)

Thu, 27 Aug 2026 14:37:00 EST

Review by Bovver — Fragile opens with the epic Roundabout the album largely maintains that extremely high level quality progressive
rock across throughout. In fact there really is only a single blemish on this masterpiece (and even that is a personal
dislike for me) - the inclusion of Wakeman's interpretation of a little Brahms that provides us with the second track
on the album. Thankfully the blot on the landscape is a mere minute and a half long and so this entirely forgettable
inclusion does not destroy the album but it really does ruin the effect produced by Roundabout and then picked up
again by the rest of the tracks. There are many highlights across Fragile, from Squire's punchy base, to Anderson's
beautiful vocal harmonies and the complex compositions that combine these extraordinarily talented individuals
efforts into a masterpiece of music that is almost without equal.

Even Wakeman, despite providing the lowlight of the album, impresses with his abilities to control a range of
instruments in support of the band's sonic creations and I guess Fragile represents the pinnacle of Yes' output,
alongside Close To The Edge. My personal preferences guide me more toward those more melodic efforts such as
Relayer and Going For The One but even I can see that the true value of Yes to progressive music lies in those
groundbreaking efforts that include Fragile. Few bands can match Yes for talent and for compositional originality at
this stage of their career and most don't even come close. The album itself develops nicely from the punchy opener
through Wakeman's embarrassment towards the powerful South Side of the Sky which is a personal highlight as it
seems to marry the individual contributions more impressively than the other tracks.

The album contains plenty of awkward sounds and sudden transitions, paying absolutely no respect to traditional
musical structures, representing dreamland for diehard progressive music fans; and, by the way, becoming
extremely popular amongst the general public at time of release - something that could only have happened during
those enlightened years of the 70s. There is a lot going on at different levels but if you want to just sit back and
mellow then Anderson's vocals will give you everything you need with their beautifully expressive lyrical melodies. I
am tempted to remove track 2 from the album to experience it without that jolt but frankly I have too much respect
for this entire band to do that. it would perhaps be sacrilegious?

As expected, when you have top quality talent, really expressing themselves then you really need top quality
production and that is exactly what we get. I really wouldn't change a thing. I guess the shorter track times make
this effort a little more accessible to the masses despite the rampant progressive changes and occasional
quirkiness mixed in with classical influences (including Spanish guitar sounds) but I once again have to say that I
prefer the extended tracks of Close to Edge, Relayer, Going for the One etc... Having said that, if you need a gentle
way in to "classic" Yes then you could not do better than Fragile as it provides you with a complete context for Yes'
work without burying you in something that you aren't ready for. This is certainly one of the best progressive rock
albums of all time and for me is only overshadowed by a very small number of other works.

S�GUIN R�colte de R�ves (Prog Folk, 1975)

Thu, 27 Aug 2026 14:13:34 EST

Review by Sean Trane — For some reason, S]]>�themselves on the ultra-local label Kot'ai (of early Mahogany Rush non-fame), but it seems that
R]]>�gatefold sleeve with the lyrics on the inner sleeve. However, if Richard Gr]]>�absent are Lagac]]>�participate. And to be honest, it shows, because there is fairly little rock, let alone "prog" in
the album.

TBH, the album starts "dans un mode mineur", as the first few songs are almost straight folk (I
don't mean trad folk either), but barely folk rock, let alone prog folk. It hardly means the music
isn't lovely, but it's extremely pastoral and bucolic. And the arrangements don't add any energy,
but plenty of beauty, but not enough to warrant close attention. Of the seven tracks on the A-side,
none but one manage to ruffle a single feather, despite a few intriguing titles like Si]]>�sole exception is the all-too-short No]]>�Roi ]]>�
if the flipside offers more promise with fewer and longer tracks, the opening lengthy Les Saisons is
very much oversweet and soporific over its near 8-mins. A near-medieval interlude and a Do Mineur
Fugue prefigures Pleine Lune, which also fails to set the night on fire, despite a small spark 3/4
of the way through and an instrumental ending. The closing Pri]]>��oversweet candy.

Seeing the songwriting might be misleading, because it sounds like Twin Richard is playing second
fiddle to his sister, and there are a hew outsiders intervening, but not in a good way, IMHO. It's
difficult to admit that R]]>��soporific lack of energy. Despite my severe judgment, apparently the band manged a high profile, I
believe even touring French-speaking Europe around this time.

PATTERN-SEEKING ANIMALS Grimalkin (Crossover Prog, 2026)

Thu, 27 Aug 2026 12:48:13 EST

Review by BigBob68 — I gave this 4 stars. Is it their best work? No. But is it enjoyable to listen to? YES.
Like all their albums I had to give this a couple listens before I really got the album. There is a
lot burried in this album, so if at first it doesn't grab your attention, give it a couple spins.
Here are some of my highlights from the album:

Jade Sky - Ted sounded a lot like Steve Perry from Journey in this. In fact this song had feel to
being like Journey song. Thinking of "Wheel in the Sky". Great song and Ted's voice is powerful.

Things I Don't Do - Holy Crap, was not expecting this song. It like came out of nowhere and blew me
way. Its beautiful, I think their best ballad. This is one of the few songs from PSA that the lyrics
are strait forward. Ted's voice and (I assume) John's piano work on this song are perfect.

Break Away - Great Prod rock song. Reminds me sometimes of Genesis (like Peter Gabriel Era)

Travler on the Wrong Rode home - I feel like we can't get a PSA album without a song about a
traveler of some sort. There's horns on this song. They add a bit of a 'Good, Bad, Ugly" feel

Slowly Falls the Flying Man - Another fav of mine. Everytime I listened to it, I kept trying to
think why do like this and hit me, this is like Kansas! Reminds me of Kansas's Iracu or All the
World.

S�GUIN En Attendant (Prog Folk, 1974)

Thu, 27 Aug 2026 10:03:37 EST

Review by Sean Trane — S]]>�Quenouilles, but I don't see much a musical link. Anyway, the band returns with the same line-up, but also get
reinforcements by a slew of guests, but it's not like they bring a new dimension.

The A-side consist of 6 relatively-short tracks that are in the standard folk-rock mode (too gentle for my tastes),
though some of the arrangements can be quite pleasant, especially the closing Nous Voyagerons, which luckily
happens to be the longer track, by a margin. The flipside starts in the same gentle folk-rock, however a violin enters
Chante, Danse and bring a much-more exciting and exotic (almost dronal/medieval) ambiance/arrangements. The
same magic ambiance is transposed (albeit differently) into the Mois de Mai. But We're now facing an 8-mins closer,
named F]]>�suspected with their first album's G]]>�the whole thing being quite dramatic (though not as strong as G]]>�crickets return.

If En Attendant can be considered as a bit of a disappointment to progheads, but for folkheads, it's got everything to
please them. Thankfully, the best three tracks are the album's longest and it ends much better than it started.

S�GUIN S�guin (Prog Folk, 1973)

Thu, 27 Aug 2026 09:10:45 EST

Review by Sean Trane — After the schizophrenic two factions disbanded La Nouvelle Fronti]]>��while the rest of the band went into the much rockier Le Match. Richard & Marie-Claire became the master of their
destiny for four albums before parting ways , each having their own solo careers, Richard first teaming with
Harmonium's Fiori for an album that could be considered as l'Heptade Bis. But that's another story, and we're now
dealing with the duo's stunning eponymous debut album. And if the album's sleeve is something to go by, they chose
the troubadour image, both on the front and back cover. Marie-Claire will design the project's album sleeves. I'm not
sure at which point the twins became high-profile in La Belle Province, but they didn't sell out if you judge by their
original hippie idealism. Btw, they had a more of less stable backing band of Gr]]>��Gilles Valiquette was a frequent contributor.

Opening on the stunning medieval-like blood-curdling Som S]]>�contributions, while still claiming their original hippie folky roots (Caf]]>��closes on the stunning Genocide, an 8-mins+ monster track that will drive shivers down your spine and its solemnity
will drive the rest to your brains. What an awesome track, even 50 years down the line.

The flipside returns to simpler form of folk-rock, even going to blues-rock Train du Nord. and the very Qu]]>��Ma Maison and the overlong Dis-Moi with a bit brutal change halfway though, going gradually rock. If they ever tried
selling off a bit it's in the bilingual It's All Right My Friend, close to country rock, but nothing offensive (no "twang"). The
album ends on the lovely and dreamy Tout Est Meilleur, but unfortunately, the second side lacks a stunner like the
other face. On the merit of two stunning track on the A-side, the album is closer to 4* than 3.5*, hence the rounding
up.

IRON MAIDEN A Real Live Dead One (Prog Related, 1998)

Thu, 27 Aug 2026 08:48:08 EST

Review by martindavey87 — 'A Real Live Dead One' is a compilation live album by British metal legends Iron Maiden. Originally released a few months
apart in 1993 as two separate albums, 'A Real Dead One' and 'A Real Live One', the band would eventually release them as
one complete package in 1998. Why'd they go through the hassle of doing it this way? Nobody knows?

While both albums individually must have felt incomplete to fans who bought them in 1993, hearing them together in this
compilation makes it feel a bit more complete and well-rounded. And when coupled with 'Live At Donnington', also
released in 1993 and recorded during the same tour, it serves as a nice memento of a pivotal year for Iron Maiden.

As for 'A Real Live Dead One'? it's okay. The sound isn't brilliant, and vocalist Bruce Dickinson does seem a bit off at times.
Granted, Dickinson, a throat cancer survivor today, still sounds miles better on a bad day than me trying my best. So who
am I to judge? The fact he was nearing the end of his first tenure with the band as well, meant he was probably fatigued
from all the touring, and already mentally checking out.

Still, the album is fine for what it is. It has all the major hits up until then, including 'Run to the Hills', 'The Evil That Men
Do', 'Fear of the Dark', 'The Trooper' and 'Hallowed Be Thy Name', and there's a few surprises that probably don't get
played anymore, such as 'Be Quick Or Be Dead', 'Transylvania' and 'Afraid to Shoot Strangers'.

Overall though, it's just a very mundane and unnecessary album. Iron Maiden would go on to release plenty of much
better live albums, and even then, I'm still more likely to listen to any of their studio output over a live recording anyway.
Simply put; a harmless addition to the collection, but non-essential.

LA NOUVELLE FRONTI�RE L'hymne aux quenouilles (Prog Folk, 1970)

Thu, 27 Aug 2026 08:05:51 EST

Review by Sean Trane — A much more focused album than their very naive debut, though you'll still find the hippie idealism found on LNF. And
this is because Quenouilles (survival plants water reeds) was recorded soon after their first effort, so you'll find traces
of everything. Graced with a lovely gatefold artwork, l'Hymne is a much better affair, despite opening on a Ballade des
Bourgeois not exactly announcing things to come. A slow organ looms and cowbells of Transition is taking things to
the upper level , though not that satisfyingly so, because the instruments jam clumsily. Citoyens Du Monde shows the
usual hippie idealism and Si Loin has Marie Claire singing solo over a an electric piano.

On the flipside, Confiture Bleue (Blue Jam/jelly) is a bit too derivative of another song that it lacks a bit of credibility,
though its bluesy dimension is quite enjoyable around the end of the track. The almost 7-mins Indifference starts
slowly but develops in a very interesting (adventurous) middle section . But the real highlight of the album is the 7.5-
mins title track that should blow some minds out with its slow organ crescendo and driving drums .

Much like their debut , Quenouilles is still flawed, but the peaks are really enjoyable. Again a bit schizophrenic , torn
between folk (mainly the A)side) and psych rock(the flipside), Quenouilles is out to stretch your mind, but doesn't
necessarily succeed because of their overt naivet]]>�intent, even if not entirely successful.

LA NOUVELLE FRONTI�RE La Nouvelle Fronti�re (Prog Folk, 1970)

Thu, 27 Aug 2026 07:32:37 EST

Review by Sean Trane — A very naive d]]>�hippies (which the band was back then), there is a real peace & love feel to their music on this progressive folk album.
The band consisted of the twins S]]>��
Their gentle folk rock opens the album with the lovely Pacification and follows with the cheesy Temps de Mar]]>�despite a rockier ambiance. Heros is more of a traditional folk piece and is followed by the short and aerial Sans
L]]>��Marianne, which I personally could've done without (not a Cohen fan, though it's fairly different feel (happy as
opposed to sad) from the original.

The flipside opens with a traditional-like folk and it could be the title track, but lacks the "Nouvelle" side. Le Chemin Du
Roi is certainly more of a rockier affair with psyched-out fuzz guitar and underlying organ, but again the naive feel can
be smothering a bit the original aim. Things get slightly embarrassing with Aimer de t'Aimer, best skipped to the
liturgical Alleluia, which really shows the musicians' hippieism. But this countered by the instrumental very Funky
Monkey with typical psych-garage feel, which makes you scream for more.

This debut album is a bit schizophrenic, torn by the twins' folk aspirations and the two soloists who crave to rock
harder. In the meantime, this is hardly essential, but if you want to listen to their much better follow-up, you'll have to
"suffer" (you'll survive ;-)p)))) this one because the only way to find it is through the 2-on-1 CD compilation with an ugly
cover.

MARTIN ORFORD The Old Road (Neo-Prog, 2008)

Thu, 27 Aug 2026 05:58:05 EST

Review by JilbataPlazm — As a long time progressive and neoprogressive rock fan i must say that i am very hard to please. When i was devouring band IQ i noticed that something is off after Martin Orford left. I didn't know how to describe it, but like the soul of IQ is gone. That's always the case when someone big and important vanishes from scene. I heard it once briefly when i was a little bit younger and liked few parts of album, but didn't listen to it again. That's always the case with masterpieces, especially progressive rock masterpieces. When you hear it for the first time, just few notes stick in your head, and nothing more. In that couple of years i manage to discover a lot of beautiful neoprogressive rock bands such as Marillion, Pallas, Arena, Jadis and so on. Why is that important? Because few weeks ago i heard of Jadis and really liked it. I searched to see what are the band members, and suprise suprise, Martin Orford is their lead keyboard player. To cut it short i put "The Old Road" and listened to it once again. Bam! What a shock. First song and already a masterpiece. When something gives me a goosebumps when i listen to it i automatically know it's a masterpiece. I knew Martin Orford was a genius, but without "The Old Road" i couldn't make that statement. "The Old Road" is farewell album, but hey... what a farewell. Going back to his roots, he decided to make a extraordinary beautiful progressive rock album. Why i praise it so much? Because some parts are like Mozart himself composed it. Particullary the ending of "The Time and The Season". That would be it. Thank you mister Orford for everything! If you still have inspiration, fans would be delighted to hear yet another great album from you.

BOARDS OF CANADA Tomorrow's Harvest (Prog Related, 2013)

Thu, 27 Aug 2026 00:35:47 EST

Review by Logan — Tomorrow's Harvest acts as a cold bridge of a sort of, to be cliche, spiritual (yeah, an overused word) trilogy, and while the bookend albums were easier listening for me, on a recent spin of Tomorrow's Harvest, I feel I really "got" it. I got that wow factor; that it. The eureka moment. Unlike the others, it has felt like a bit of a slog, but this time at 49 minutes in I looked at the timer since I knew I had to prepare dinner. It felt like the quantum wave function had collapsed. I had been floating in a blur of endless, timeless possibilities, and suddenly looking at the clock forced rigid reality to snap back into place. I realised that time had collapsed for me and this had become a true "timeless classic". I had become dimensionally transcendent as might be said in Doctor Who. Okay, getting too fanciful perhaps...

Tomorrow's Harvest did require patience for me, but I especially was primed for it after getting into Inferno (2026) because I feel that is the spiritual successor to Tomorrow's Harvest (2013) and The Campfire Headphase (2005) -- that is a glorious trilogy spanning 21 years. Music can take time to grok, and while there was instant gratification within the album, to appreciate it as a whole took some neuro-syncing.

While I have seen claims to the contrary lacking nuance and not recognising that Boards of Canada can be different things at different times, and that it can be more than one thing at a time, this isn't just IDM background noise. It feels like it has a deep, unbreakable connection to the Kosmische Musik and Berlin School pioneers, like early Tangerine Dream or Popol Vuh. Throw in some Eno and Cluster for good measure. It has long-form, cyclical synthesiser desolation qualities to it. If The Campfire Headphase (2005) was a warm, sun-dazed tapestry of nostalgia, and Inferno (2026) an explosive electronic rebirth, then Tomorrow's Harvest feels like an icy tunnel connecting them (icy but with warmer moments and contrast). As with BoC generally, the brilliance here isn't about showing off; it's about atmosphere and texturing. The brothers use unstable tape capstans to make things sound like machinery that is dying.

"Gemini" opens the album not with a big statement, but with a strange, distorted little b-movie audio tag that bleeds into a lonely synthetic trumpet motif alerting the listener that the landscape has changed. This flows into "Reach for the Dead," which is the gravitational centre of the first half. It has this cold, heavy drum pulse feeling like a terminal heartbeat, and with a melody that rises continuously. It seems to me to be like a bleak answer to "Dayvan Cowboy" where instead of
launching you toward the sun, it's more akin to watching the sun burn out. Then there is "White Cyclosa," which builds a quiet, flitting kind of anxiety with that icy bass-line.

The middle section is what required the most patience from me. "Jacquard Causeway" utilises an off-kilter rhythm where the percussion and melody clash at odd angles and much like my swim to a raft yesterday after having two beers (stupidity has no age limit), it has a similar seasick quality to it as with me rocking on that raft. Or something of a boozy-woozy quality as I like to call such things

Between these heavier pieces, short interludes like "Telepath" and "Transmisiones Ferox" don't really offer comfort and use eerie voices counting down, much like intercepting a shortwave numbers station in a fallout shelter (as I have heard it described).

That said, there is a great cinematic logic to this tension. It reminds me of Ennio Morricone's soundtracks. Morricone got that a beautiful melody has much greater impact if it is preceded by uncomfortable spaces lacking in humanity, and knew the value of contrast, of release and tension... If an album is just a continuous string of catchy hooks, the brain adapts and the dynamic range is completely flattened, which is not unlike modern loudness-war compression where you lose dynamic range. The bleak mood pieces and the sparse ambience give the melodies much more weight. The ambient tracks make the more melodic moments/track much more of an ear candy payoff. This is something I often felt with Morricone's collaborations with Edda Dell'Orso and I think that Boards of Canada are masters of it too. Due to that contrast, the tracks that can act more as standalone highlights with much more power and presence.

"Cold Earth" is wonderful, blending a rigid electro-beat with a sweeping, deeply mournful choral pad that feels very old. "Sick Times" has a dark, crunching hip-hop groove that feels isolated and reminds me of a an 80s ending of the world movie.

The final movement is where everything clicked for me and especially altered my sense of time. The fog breaks a little, or maybe that is just smoke haze, with the corrupted vocal loops of "Palace Posy", and then with the fragile nostalgia of "Nothing Is Real", which is a track that offers that warmer ear-candy payoff because the surrounding aural landscape seems frozen. Boards of Canada often plays on feelings of nostalgia. Not all relate to that, people have different experiences, I very much do.

Then comes "New Seeds." Right around that 49-minute mark, the rhythm swells into this matrix of counter-melodies, and that's when the whole album transformed for me into manna. It builds up this frantic energy that in retrospect hints at the electronic re-wiring that would come thirteen years later on Inferno. The album then progresses into the heavy, cinematic finish of "Come to Dust,", a highlight for me, before fading into "Semena Mertvykh" (Seeds of the Dead), which leaves
me feeling mournful and hollow with its drone. It would be a good ending music for Twin Peaks, not concluding things, but leaving one in a hollow limbo. It makes it feel like, to me, it is to be continued at some time in the future, that is if there is a future for tomorrow's tomorrow's harvest.

I used to think this album was a bit of a struggle, but then my slow brain finally synchronised with it. It's hard to "get," and I think it's okay to champion that. I will give it a five (4.5 if we had half stars). They say you will reap what you sow, well, this harvest grew on me and I have reaped its rewards. That whole final trilogy of albums is a masterpiece of psychedelic electronica and more for me. If you like Inferno half as much as I, I do recommend swimming into these earlier releases. It helps to fill out a bigger picture.

Note: Before getting Inferno, I was much more into the early BoC albums, Music Has the Right to Children (1998) and Geogaddi (2002).

HIROMI UEHARA Hiromi's Sonicbloom: Time Control (Jazz Rock/Fusion, 2007)

Wed, 26 Aug 2026 17:04:48 EST

Review by Fercandio46 — There is something distinctive that makes Hiromi a jazz pianist whose albums transcend the genre; she grew up
listening to 70s fusion and progressive bands, incorporating those harmonies into her music. Consequently, with
her group Sonicbloom, those "spacey" explorations and ethereal sounds became more prominent, heightened by
the presence of David Fiuczynski, an exquisite avant-garde guitarist whose style defies simple categorization,
though it undoubtedly reflects the legacy of Allan Holdsworth. With this group, she created a concept album for her
debut centered on the theme of time, as evidenced by the titles of the tracks.

"Time Difference" possesses both classical sensibility and the surgical, energetic precision of King Crimson. It
engages the piano in a dialogue with the drums and guitar, then shifts to keyboard work accompanied by the
electric bass.

"Time Out" features a funkier, more urban and cosmopolitan Groove, evoking a nighttime cocktail hour amidst
marquee lights, the din of the crowd, and the sounds of traffic, while the guitar plays dissonant scales and the piano
and bass cut through the air with tightly interlocking notes. The band becomes the soundtrack to a New York party,
and the balance between experimentation and pure listening pleasure reaches its peak.

A tranquil atmosphere with an Oriental feel, as if the spirit of Ryuichi Sakamoto had drifted in through the window,
permeates Time Travel; naturally, the influence of Chick Corea's groups, such as Return to Forever and the Elektric
Band, is also present. Hiromi is a fine exponent of "progressive jazz," though a different kind than that found in
bands like Graham Parker's Strata or Red Kite. David Fiuczynski can play jazz, funk, or the more daring styles heard
in Screaming Headless Torsos (another of his bands), while Hiromi continues to play and experiment with sounds
alongside the band; at times they sound like a 1970s jam session, shifting to an 80s vibe, and finally landing on 90s
fusi]]>�
"Deep Into the Night" reveals another, purely jazz-oriented dimension; it also offers a perfect opportunity to
recommend her album with Stanley Clarke, where her piano prowess transcends mere virtuosity to convey ideas
and emotions, capturing the spirit of classic jazz that she revives, offering the best of both worlds.

A concept difficult to define, that chasm between what one feels and the divide between internal and external
reality, is explored in "Real Clock vs. Body Clock = Jet Lag," a track where the meter is as complex as the message
itself. Fiuczynski's guitar sounds as if it were melting in the midst of a surrealist act, yet at times she plays as if she
were back in the 1920s. "Time and Space" is another gem (the entire album is, truth be told) and reminded me of
another master well worth recommending: Misha Mengelberg and his album "Who's Bridge". In that trio setting
with Daryl Jones and Joey Baron, they play with time and surprises much like Sonicbloom does here.

Classical music takes time by surprise, and a fugue kicks off "Time Control" (or "Controlled by Time"), naturally
bringing to mind Keith Emerson, who inhabited that same intersection of classical and jazz, before the band pulls us
into the present; the Rhodes piano climbs powerfully alongside the group, reaching the very peaks of the genre and
transcending them, with Fiuczynski playing his fretless guitar.

Time Flies offers another moment to catch one's breath, a space where a sigh rises toward the sky, mingling with
rooftops and treetops, for this album encompasses both day and night! Adventure transforms into fun and
reflection; concept albums can be a delightful experience, culminating in an epic finale and the track "Time's Up"
(which features a bonus track on the Japanese edition). Here, the band flows like a river, leaving genres behind on
the Banks, held back by the stones, until only the purest, most transparent music remains.

BAKULLAMA / EX BAKU LLAMA Spider (Eclectic Prog, 2026)

Wed, 26 Aug 2026 14:53:24 EST

Review by Steve Conrad — Well, They LOOK "Normal"!

Rick Whitehurst, I mean.

Who, along with Krystal Pavlovic, have composed and performed "Spider", under the 'current' name of BAKULLAMA &
KRYSTAL.

I say 'current', since as you can plainly see, if you actually do look at the fine- and not so fine- print, that there is also
the "EX BAKU LLAMA" moniker, as well as (if you query BAKULLAMA on ProgArchives, you will ALSO see BAKU), and
yes, now "BAKULLAMA & KRYSTAL".

So maybe even the esteemed ProgArchives is confused.

BAKULLAMA et al

Near as I can piece it together- and I'm probably making way more of this than I need to, such is the burden of almost
achieving OCD status- multitalented Rick has been at the heart of the BAKULLAMA enterprise since 2007, falling off the
map (well, really, landing in Washington, resurrecting the music-making, with an impressive assortment of singles and
albums in his/their discography.

Of which, "Spider" is the latest release. And I found it meekly and humbly waiting to be reviewed, right here on the
venerable ProgArchives.

Patiently, seems to me.

Spider

Here's (at least on Bandcamp) a nine track album.

I say THIS, since you will notice (again, if you choose to peruse) the track list here on this site is only SEVEN tracks,
almost all of them different versions than are to be found on Bandcamp, what can I say.

And, to further complicate matters, even if on Bandcamp we can actually hear (I assume Krystal) singing in a husky
and slightly world-weary manner, the only track that lists "lyrics", actually gives us the information: "none".

The tracks that DO have lyrics, don't provide them.

Quirk

Yes, the impression I need to impart is that although these two fine musicians APPEAR to be "normal" (and I'm willing
to entertain as legitimate the observation you may choose to make, "What is normal"?), the music is rather a different
tale to tell.

For instance, in the ProgArchives forum inviting hapless reviewers to please take note of patiently waiting albums,
someone (I just don't think it was Valdez, but who really knows), makes this statement: "It's a pop/electronic/prog
hybrid of an album."

Personally, I suspect Rick is behind this description, but I've been wrong before.

I Couldn't Resist

No, this album is certainly eclectic, and certainly has electronica tones. There are some actual instruments, at least a
Fender acoustic guitar and an Epiphone SG bass guitar are listed, and as far as I can tell, Krystal actually does use her
actual vocal chords.

These two pranksters eschew conventional forms and patterns, choosing instead to tempt and taunt the listener with
sometimes spooky, odd, off-center, and just plain goofy fun while making music together.

The liner notes say this seductively unusual commentary about "Spider": "A different and moody ode to Spiders,
Birds, Mermaids... and Dreams."

It's Just Cool, OK

I like this.

I think of "progressive", and it might at times mean "pushing boundaries", correct? It might mean breaking some rules
and using off-beat humor and maybe sometimes, just not paying much attention to convention.

Check. Check. Check.

Anyhow, I'll not say more.

C'mon. Take a chance! Who knows- a collection of nine, or six, or howEVER many tuneful explorations of zaniness
MIGHT be just the ticket on such a day as this.

My rating: 3.25 sarcastic stanzas out of a possible 5- good. And Slightly more than non-essential.

TREES SPEAK PostHuman (Krautrock, 2021)

Wed, 26 Aug 2026 13:52:58 EST

Review by Sean Trane — These Arizona bros are definitely hooked on Krautrock ala Neu!, Can, Tangerine Dream and more of the
kind. Soundscapes of Tangerine Dream, Cluster, early-Kraftwerk and the hypnotic "motorik" rock of
Neu! or Can. However, Trees Speak take 1970s German experimental rock & electronic music and put
their own modern spin on them. Too bad they don't expand (read extend) more some of those great
ideas (some of these tracks are way too short, IMHO), thus inducing a bit of a frustration in terms
of depth - though this is never shallow, au contraire. One can only wonder if they'd dared plunging
into epic-length sonic explorations that Froese & Co. had done in their heydays.

We've got a series of 16 short soundscapes (none over 4-mins) that are +/- fused into each other,
and they transport you into the realms of synth and computer servers and other electronics
nightmares, and it's rather addictive, partly because there are real drums and a few more real
instruments played by guests (some will return on the next albums). The middle of the album , from
Sadness of Wires until the title track is one amazing trip in copper and silicium. AFAIAC, my fave
track is Chamber Of Frequencies, where 'trons and and guitars create a special little plus.

Though the following albums are of the same ilk, I must that none of them have resonated as much
with my eardrums as their debut Ohms, partly because the surprise is gone. Impossible to pull out
the CD for only one sole listen: minimum two or three plays and it usually remains close to the deck
for possible more spins before heading (finally) back into the shelf. My 3.5 stars are of course not
objective, because Post-Human probably deserve as much as their previous releases, but I can't help
being subjective, not having that "Wow" factor.

H�LLAS Panorama (Crossover Prog, 2026)

Wed, 26 Aug 2026 13:09:37 EST

Review by ProgExpert — It is amazing to hear H]]>�

JOUIS Dojo (Crossover Prog, 2014)

Wed, 26 Aug 2026 12:48:38 EST

Review by ProgExpert — This is a remarkably delicate and sensitive record, played with exceptional taste throughout. Every arrangement feels carefully judged... nothing is overstated, and the musicianship is consistently impressive without ever becoming showy. There is a warmth and naturalness to the playing that gives the music an almost timeless quality! At several moments, it recalls the more pastoral and adventurous side of 1970s Caravan, with that same combination of melodic richness, subtle complexity, and effortless flow. What stands out most, though, is the restraint. Beautifully performed, elegant, and deeply musical.
I cannot get enough, I wish they had composed 10 records! Not just 2! Come back Jouis!

KARFAGEN OMNI II Act I: The Glass of Time (Symphonic Prog, 2026)

Wed, 26 Aug 2026 12:33:08 EST

Review by ValeriyK — Karfagen ? OMNI II Act I: The Glass of Time
OMNI II Act I: The Glass of Time continues the story started with OMNI, released by Antony Kalugin in 2025. And,
without any doubt, OMNI II is one of the brightest progressive rock releases of 2026.
A wonderful cast of musicians, clear and rich production and, most importantly, strong melodies make OMNI II a
very enjoyable album from beginning to end. There is a lot of good music here, and I have already returned to this
album many times.
Like the previous OMNI, the music is divided into larger chapters. Here we have OMNI Part 4, Part 5 and the bonus
Part 6, each approximately the length of one vinyl side.
OMNI Part 4
The album opens with The Glass of Time Part 1, and what a pleasure it is to hear Rob Reed here. For almost the first
minute and forty seconds, it is basically Rob's world: keyboards, guitars and bass. Then Michel St-P]]>�Kalugin join in and the piece develops into a wonderful instrumental with a strong classic Genesis and Tony Banks
flavour. It is a beautiful and very natural opening to the album.
The second track, Frozen Rivers, is without doubt one of the highlights of the album. Here we meet the wizard
Roine Stolt, one of the finest composers and guitarists in modern progressive rock, together with his brother
Michael Stolt on bass. There is a very strong Scandinavian feeling running through this composition. Kalugin has
mentioned that he wrote this song especially for Roine, and even the lyrics seem to reflect that connection.
It is also a pleasure to hear John Hackett again on flute and Marek Arnold on soprano saxophone. Everything comes
together beautifully, and the lyrics have a warm and soulful quality. For me, this is one of those tracks that
immediately makes you want to press repeat.
Then comes Shadowbound, and this is simply a hit. In another musical universe I could easily imagine this song
appearing at Eurovision and doing very well there. It has an immediate melody and a memorable chorus, but
underneath that accessible surface there is still plenty happening.
The song deals with destiny, our choices and the struggle between different sides of ourselves. Mariya Panasenko is
the real star here. Her performance is powerful, emotional and technically excellent, while Jannica Lund adds
beautiful backing vocals and Roine Stolt contributes guitar. In the middle the song suddenly opens into a symphonic
art-rock section. Somehow Karfagen manages to put Eurovision and progressive rock into the same four minutes ?
and it works!
Part 4 closes with The Shape of Love, featuring Marco Gl]]>�distinctive vocalists in contemporary progressive rock. His voice is immediately recognisable, and the emotional
range he brings to a song is remarkable.
Just as The Last Card was one of my favourite moments on the first OMNI, The Shape of Love is one of the strongest
songs here. It is also nice to hear Kalugin writing so openly about love again. I sincerely hope Marco will return for
the next chapter of OMNI, because his voice brings so much emotion to this music.
OMNI Part 5
Part 5 begins with the nine-minute Carry On, and my only complaint is that I wish it were even longer!
This is warm, vintage progressive rock, somewhere in the world of Alan Parsons and Electric Light Orchestra, but
still unmistakably Karfagen. Yogi Lang of RPWL provides his characteristic vocals, and the composition develops
through two rather different moods. The first section is energetic, positive, almost feel-good prog, while the second
becomes more balladic and has, to my ears, something of the spirit of classic ELO.
Kalle Wallner, also well known from RPWL and Blind Ego, appears on guitar, and it is great to see these two
Bavarian musicians together on a Karfagen album. Michael Stolt once again provides his strong and dependable
bass work.
Beyond the Mirror brings back Per Malmberg, whom listeners of the first OMNI may remember from The Spark.
Pascal Gutman adds Chapman Stick, and the result is another melodic and very positive song.
And finally we hear Antony himself singing a verse! One thing I noticed on this album is that there is actually not
very much lead vocal from Kalugin. Of course this is his artistic decision, but personally I enjoy his voice and hope to
hear more of it on future albums.
There is also a lovely moment in the middle of Beyond the Mirror where Jannica Lund's backing vocals meet
acoustic guitar. Believe it or not, it reminds me of Fleetwood Mac ? that old, warm, soft pop-rock feeling ? and it
fits surprisingly well.
How Fragile We Are is a charming, enveloping and very gentle ballad. Mariya Panasenko sings beautifully, while
Marek Arnold's soprano saxophone almost answers her voice like a second singer in a duet. Antony can also be
heard on backing vocals in the chorus.
There is something very Gilmour-like and Pink Floyd-like about the atmosphere here. Nothing is rushed. The song
simply breathes, until we are left with the words: "Oh, how fragile we are?"
The main album then closes with The Glass of Time Part 2, bringing us back to Rob Reed. Once again, for roughly
the opening minute and forty seconds, Rob carries almost everything himself ? keyboards, guitar and bass. :)
It works like a mirror of The Glass of Time Part 1, bringing the main album full circle. This is Karfagen instrumental
music in its natural territory, with another gentle touch of Genesis and Tony Banks. A wonderful ending to the main
48-minute album.
But fortunately, the CD does not stop there.
OMNI Part 6 ? The Silent Compass
Instead of releasing another separate Working Tapes disc this time, Kalugin has included the complete OMNI Part 6,
lasting just over nineteen minutes, as a bonus chapter on the CD. This material has also been announced as a
separate digital release titled The Silent Compass, coming to streaming platforms this Friday. But CD listeners
receive the whole additional chapter together with the main album. Thank you, Antony!
It begins with Under the Northern Lights, a tiny piece lasting less than two minutes, but what a beautiful two
minutes they are. This is almost classical music: piano, organ and orchestral colours, soprano saxophone, Roine
Stolt's guitar and John Hackett's flute. There is something of Edvard Grieg in its atmosphere, perfectly matching the
northern mood suggested by the title. A miniature symphonic pleasure.
Then we arrive at The Silent Compass, one of the finest instrumentals on the whole release. Roine Stolt and
Roberto D]]>�acoustic guitar and John Hackett opens the piece beautifully on flute.
There are shades of Anthony Phillips and The Flower Kings here, but ultimately this is Karfagen doing what Karfagen
does best: melodic, pastoral and symphonic progressive rock with plenty of space for the musicians to tell their own
stories.
OM

QUIVIRA Quivira (Symphonic Prog, 2026)

Wed, 26 Aug 2026 12:31:00 EST

Review by yarstruly — Really 4.75, but clicked 5...4 is too low.

Quivira are new prog band consisting of:

?Jake Livgren (Emerald City Council, Kerry Livgren Band, Proto Kaw?he's Kerry's nephew) on lead vocals,

?Composer Lisa LaRue (RematriNation, Solo, 2KX, Federico Fantacone), on keyboards and programming, and

?John Baker (Forever Twelve, Mars Hollow, Little Girls) on guitars, bass and vocals.

There are two guest performers:

- Joe Deninzon (Kansas, Stratospheerius) / violin (5)

- Evan Stanley (Stanley-Simmons?Paul Stanley's son) / guitar (9)

According to the press release:

This project blends historical themes, classic rock, and cinematic progressive rock into multi-movement works that
emphasize narrative cohesion, harmonic exploration, and textural depth. The debut focuses on the story of pre-
Kansas "Quivira", the Native American villages that Coronado believed held gold.

This album comes courtesy of Nick Katona of Melodic Revolution Records (MRR). As always, I receive no further
compensation, and I call it like I hear it. As per my usual method, this is a cold listen.

Track 1 - (Intro) The Coming of the Spaniards (3:52)

A blend of vocal and string sounds provides a cinematic beginning, joined by drum accents. This feels like the
beginning of an epic movie. Acoustic guitar gradually enters the soundscape along with the choral and orchestral
themes. The acoustic guitar becomes more prominent as we proceed. A grand introduction!

Track 2 - The Benefits of Breathing Quietly (5:55)

The music quiets down to a single violin-like sound, then piano, bass and percussion enter. Jake Livgren enters on
vocals with a very expressive melody. There are wonderful harmonies as the verse continues to build. The piano
parts are absolutely beautiful as a synth solo enters soon after. The sound is warm and full; great production.
Jake's vocals are exceptional! Not to play too heavily on the Kansas connection, but he is reminiscent of Steve
Walsh in his prime. Lisa LaRue's synth solo is fantastic. The drum programming has some nice fills and syncs nicely,
but I would always prefer a live drummer. Outstanding piano work as the song nears its conclusion. Jake closes it
out with more top-notch vocals. Fantastic track!

Track 3 - The Plains Truth (6:49)

A quiet piano starts things off here. I believe the violin is synthesized, but it's convincing. This album is very
dynamic! We get into a nice 6-8 groove here. John Baker has a nice guitar solo, making good use of delay effects.
This is a wonderful instrumental track! Baker plays an acoustic solo at around 5:45 as well. Lisa LaRue shows her
strengths here, not only as a terrific keyboardist, but an amazing composer and arranger. Another great piece of
music!

Track 4 - Quivira Bound (5:31)

This begins with a prog-tastic intro with the synth in the spotlight, followed by acoustic guitar. Jake returns on
vocals at around the 40 second point. I love the accents and harmonies as it approaches the chorus. This is
glorious! The synth fill before the second verse is outstanding. Again, I hate to compare too much, but this really
does remind me of classic Kansas. The "violin" solo could be Robbie Steinhardt. A strong guitar solo from Baker
follows. I'm loving this track!

Track 5 - Moving Forward (6:49)

This commences with a brisk 6-8 and moves through several odd meters. This is the track on which current Kansas
violinist Joe Deninzon appears, and his presence is felt early. This track will appeal to fans of prog with lots of meter
changes. Joe's violin sounds like it's being fed through a distortion pedal, and even a wah-wah at times. Baker has a
super-cool guitar feature after that. LaRue's piano continues to impress. Even the drum machine parts are solid
and fit perfectly. This is another instrumental-only track, and it's amazing!

Track 6 - The Turk - Follow the Wind (5:37)

A syncopated piano part starts us off here. The vocals have adopted an accent, presumably that of "The Turk". A
drum-groove and bass enter at around 1:25 to help propel the momentum. Nice change of pace into the chorus.
The "violin" parts sound so realistic, I'm surprised it's not Joe Deninzon throughout the album. The solo that closes
out the track is evidence of that. There are some sound effects at the tail end. This is another spectacular song!

Track 7 - Nothing Is Everything (7:31)

This one gets going with a high energy intro not unlike "No One Together". Again, I apologize, but this REALLY
sounds like classic Kansas, while still being original?maybe it's just the setting of the music, but it really evokes that
vibe. The intro consumes the first 3-minutes of the track, but I doubt anyone will mind! That was incredible! Things
quiet down and become calm following the intro. There is a slow-build beginning at 3:45. I think this is another
instrumental. Again, the dynamics on this album are incredible! LaRue's piano at 5:45 is nothing short of masterful.
An acoustic guitar solo follows. Another stunningly awesome piece of music!

Track 8 - Carved From the Sun (8:01)

A mid-tempo introduction starts off this longest track. I like the bass line. The musicians have layered beautiful
melodies and harmonies over the rhythm section. The tempo picks up at 1:40. This one rocks hard! Yet, that's not
all it does. The arrangements throughout this album have been impressive; every bit is right where it should be. I
think Jake is sitting this one out, too. Lisa and John have crafted some amazing instrumental prog here.

Track 9 - Kicking Rocks (4:18)

This is the track on which Evan Stanley plays. I have to say that when I learned that KISS' Paul Stanley's son was
playing on this, I didn't see THAT coming! Piano and bass open the track, and the drums soon enter. Great bass
line from John Baker. Evan Stanley's guitar playing is excellent. He and LaRue alternate between guitar and piano
breaks. I like the blend of piano and synth. Stanley's main feature seems to be at around 3:00, and it's quite good.

Track 10 - Prelude to Anywhere - Weekend Conquistadors (5:42)

LaRue's fluid piano lines bring us into this track. After a cinematic opening, some short guitar riffs tease us. More
masterful playing from LaRue follows. Hey, Jake's back at 2:40. He's accompanied by piano only at first, then the
rest of the "band" kicks in for the chorus. And it's a great chorus at that! I love the lull then crescendo with about a
minute left. Things quiet down, then there are spoken words:

Male voice: "I will go to the end of the earth for that which I seek."

Female voice: "True gain in life is not measured by the things we accumulate, but by the peace we possess."

Awesome track!

Track 11 - Still Breathing (5:58)

Beautiful piano and violin take us into the final song. At around 40 seconds, big accents help amp up the energy.
At 1:15, the music temporarily pauses. Shortly afterward, the beat kicks in for some wonderful melodies. I believe
this is another instrumental track to close out this fabulous album. Tempo and mood changes abound! This one is
quite cinematic as well. As the track fades out a horse neighs and trots off. A terrific ending!

OVERALL IMPRESSIONS:

I keep having to say what an amazing year this has been for prog rock! I thought 2025 was great, which it was, but
this year is phenomenal! Quivira have entered the running for prog album of the year here as well! What a debut!
Certainly, a contender for best new prog band! My only nit-pick is that I would have preferred a live drummer. That
said, the drum machine programming is very well-done. Lisa LaRue has established herself as a premiere
composer, arranger and keyboardist. I am blown away. I was already familiar with Jake from his work with his
uncle and even more so with Emerald City Council, but he really knocked me out with his performances on this
album; spectacular. John Baker's bass parts and, especially his acoustic solos are quite tasty. I give this a nearly
perfect 4.75 out of 5 stars (95%). Fans of symphonic classic prog will love the hell out of this album!

QUEEN A Night At The Opera (Prog Related, 1975)

Wed, 26 Aug 2026 09:10:19 EST

Review by Abrasmatheus — Masterpiece from a band at the height of its creativity

I have known A Night at the Opera since my teenage years, when it became one of my favorite albums. I
first heard it through my father during family road trips, and those memories are certainly one of the
reasons why this album remains so special to me. The fact that I did not approach it with any particular
expectations and simply discovered it naturally makes my relationship with the record even more personal.

For me, A Night at the Opera is one of Queen's best albums. It is remarkably consistent, with no weak
tracks, and it perfectly represents many of the elements that made the band so distinctive during the
1970s. Hard rock, rock opera, pop, folk influences and theatrical arrangements are all present here,
creating an extremely varied but cohesive album.

I would not call A Night at the Opera a progressive rock album, but it undoubtedly contains several
progressive elements. The clearest example is 'The Prophet's Song', probably the most progressive
composition on the record. Its unusual structure, extended length, dramatic changes in atmosphere,
complex vocal sections and ambitious arrangements give it a much more progressive character than the
rest of the album. The famous vocal canon in the middle of the song, with multiple overlapping voices
creating an almost hypnotic effect, is particularly impressive. The track also develops through different
sections rather than following a simple verse-chorus format, making it one of the most adventurous
compositions Queen ever recorded.

The album's production and arrangements are also among its greatest strengths. Even without being an
expert in production, it is impossible not to notice the enormous amount of detail in the record. The
layered vocal harmonies, guitar overdubs, theatrical arrangements and constant stylistic changes create a
rich and almost cinematic sound. This is an album that rewards repeated listening because there always
seems to be some new detail to discover.

Freddie Mercury delivers some absolutely beautiful vocal performances throughout the album. In my
opinion, he had the greatest voice in rock music, and A Night at the Opera offers plenty of evidence for that
opinion. Brian May's voice on ''39' is also a highlight, perfectly fitting the song's folk rock atmosphere, while
Roger Taylor's more aggressive vocals make 'I'm in Love with My Car' a strong hard rock track.

The album opens brilliantly with 'Death on Two Legs', an aggressive combination of hard rock and
theatricality that immediately displays one of Queen's greatest identities during the 1970s. 'Lazing on a
Sunday Afternoon' is one of the most unusual songs on the album and has a very distinctive character,
while 'I'm in Love with My Car' brings a more direct hard rock approach and is also a perfect song for a
road trip.

'You're My Best Friend' is another extremely memorable track, while ''39' is one of my personal favorites
because of its wonderful folk rock character and Brian May's vocals. 'Sweet Lady' brings another excellent
dose of Queen's hard rock side, while 'Love of My Life' is probably one of the more pop-oriented songs on
the album and became one of Queen's most iconic compositions.

'Good Company' is another fascinating and unusual track, difficult to place stylistically but similar in spirit
to 'Lazing on a Sunday Afternoon' in its old-fashioned and theatrical approach.

And then there is 'Bohemian Rhapsody'.

For me, this is not only the best song on the album but the greatest rock song of all time. It deserves every
bit of its legendary reputation. The combination of ballad, opera and hard rock was an extraordinary
innovation, and the composition remains as impressive today as it was when the album was released. It is a
true rock anthem, but its fame should not overshadow the fact that the song is also an incredibly ambitious
piece of musical creativity.

The transition from 'The Prophet's Song' into 'Love of My Life' is another of my favorite moments on the
album. Although the two songs are completely different, their placement creates a memorable contrast
and contributes to the album's dramatic flow.

No track is weak here. Every song has its own identity, and the diversity of styles never makes the album
feel unfocused. If anything, that diversity is one of its greatest strengths.

In my opinion, A Night at the Opera stands alongside Queen, Queen II, Sheer Heart Attack and A Day at the
Races as one of the best albums Queen ever made. It may not be a progressive rock album in the strict
sense, but its ambitious compositions and willingness to experiment with different musical styles explain
why it can appeal strongly to progressive rock listeners.

More importantly, this is an album I associate with family road trips and my adolescence, which makes it
personally significant to me. However, even putting nostalgia aside, I still consider it an outstanding record
that deserves its legendary status.

Recommended to every fan of classic rock.

KARFAGEN OMNI II Act I: The Glass of Time (Symphonic Prog, 2026)

Wed, 26 Aug 2026 04:27:52 EST

Review by Trinity S — Karfagen ? OMNI II Act I: The Glass of Time

I recently received the new OMNI II Act I: The Glass of Time CD directly from Antony Kalugin and, after
several listens, I would like to share a few impressions.

First of all, this album sounds great. The production, mixing and mastering are excellent: clear, warm and
dynamic, with enough space for all the keyboards, guitars, flute, saxophone and vocals. I especially enjoyed
listening to it on headphones, where many small details become more noticeable.

A special mention should go to Aleksandr Murenko on drums. With so many well-known guests on the
album, his contribution could easily be overlooked, but his playing is powerful, musical and very tasteful
throughout.

The list of guests is impressive, but fortunately the album never feels like a collection of separate
performances. Musicians such as Roine and Michael Stolt, Rob Reed, John Hackett, Marco Gl]]>�Lang, Kalle Wallner, Michel St-P]]>�
And this really does feel like a world. The beautiful artwork, booklet and posters look almost like a map
from a Tolkien fantasy universe. Together with the different singers, instrumental passages and recurring
musical themes, OMNI II sometimes feels like a progressive rock opera.

Among my personal highlights are Frozen Rivers, with its wonderful Scandinavian atmosphere and Roine
Stolt's guitar, the beautiful The Shape of Love with Marco Gl]]>�featuring Yogi Lang and Kalle Wallner.

OMNI Part 6 ? The Silent Compass may be presented as an additional part of the CD, but to my ears this is
absolutely not bonus or leftover material. It is a strong and complete chapter in its own right. I especially
enjoyed the instrumental The Silent Compass, with its beautiful guitar dialogue and John Hackett's flute,
and We Live While We Remember, a wonderful and emotional ballad featuring Jean Pageau. These are
actually among my favourite moments on the whole release.

There was another nice surprise in my package: The Spektral World of Prog ? Volume 2 sampler CD. It was a
pleasure to hear some familiar names alongside bands and tracks that were completely new to me. Thanks
to Antony for making these companion releases ? they are a nice extra for those who still enjoy buying
physical music.

Beautiful presentation, excellent sound, strong compositions and first-class musicianship. OMNI II Act I: The
Glass of Time is another very strong Karfagen album and one I will certainly return to.

Five stars. Rock on!

MOONRISE No Rewind (Neo-Prog, 2026)

Wed, 26 Aug 2026 02:50:35 EST

Review by alainPP — 1. "Two Roads": for the prog intro?100% spot-on?with crystalline guitar work washing over the ears and Anna's
divine vocals (defying her age) channeling the style of the great Kate Bush. The atmosphere is inimitable and highly
accessible, featuring Floyd-esque guitar work reminiscent of a sensitive Gary Moore, alongside flute and keyboards
that evoke?however distantly?the renowned band Collage. In short, a heavyweight track in the neo-prog scene!
2. "Shadows in the Dark": for the breakdown and the warm vocals of Marcin (the singer, not the guitarist); for the
solemn, delicate finale featuring a melting piano and a spellbinding choir, with keyboard tones that echo the
soundscapes of Vangelis.
3. "Single Game": for a vibrant, colorful ballad featuring soaring, moving vocals; it shifts into an atmospheric,
classical mode driven by lush keyboards, leading into a beautiful decrescendo.
4. "Cheaters": featuring an intro with an electro-new-wave vibe; for the tension and the soaring guitar solo that
drives this energetic track, along with a sharp riff reminiscent of Saga?in short, it's punchy and infectious. Prog is
right here before you.

5. "When We Played By Heart": for the return of Anna?who remains, in my view, the highlight of this album?with
vocals that drift seamlessly across prog, atmospheric, and ambient spaces. Her contributions to numerous Polish
bands often elevate the quality of their albums. Special mention goes to the bewitching violin that pairs perfectly
with this vibrant ballad.
6. "Silent Rooms": for the piano interlude showcasing Kamil's magical, fiery touch; his keyboards convey far more
emotion than those of many better-known neo-prog players?which says a lot. A beautiful opening to launch...
7. "Friends of Blood": featuring a guitar solo by Marcin?a top-tier guest musician. It's an accessible track; the
album needed something more repetitive and melodic that truly takes flight with that stratospheric solo. ...a finale
that makes you want to hit replay.
8. "All About You" begins with a syrupy, Floyd-esque intro; Anna seamlessly joins in, lending this soft, melodic track
a sense of tenderness and voluptuousness?indeed, a highly sexualized feel. The melody builds, exploding in
hushed tones?the price paid for such musical ecstasy. It is a multi-layered track that settles into the violin before
launching back into Anna's compulsive, punky, trance-like mantra as the sound unfolds. Ideal for an endless finale.
(4.25)

NEIL ARDLEY A Symphony Of Amaranths (Jazz Rock/Fusion, 1971)

Tue, 25 Aug 2026 19:03:28 EST

Review by BrufordFreak — For this ambitious recording of original compositions--which were dedicated to "the two immortals who produced the
greatest orchestral jazz music," Duke Ellington and Gil Evans--Neil resuscitated the old New Jazz Orchestra that he had
directed and help found back in the early 1960s with Jon Hiseman and Tony Reeves (as well as Jack Bruce, Dick
Heckstall-Smith, and Ian Carr and Henry Lowther). The music was recorded sometime in 1971 but it was not released
to the public until sometime in 1972, probably early. The list of musicians is a veritable Who's Who of British Jazz Rock.

A. "A Symphony of Amaranths" (24:59) a seriously classical composition and production with some jazzy elements but
more of an Impressionist/Expressionist type of cinematic music. Absolutely, stunningly beautiful! Without hesitation I
must say that this composition alone does tremendous justice to the two heroes to which he dedicated it. I find no
flaw; correction: I find myself too small to even possibly due justice to any critique or criticism to this amazing piece of
music. I wouldn't change a single note it feels so perfect, feeds my soul so completely. (50/50)
- "Carillon"
- "Nocturne"
- "Entracte"
- "Improptu"

B1. "The Dong With a Luminous Nose" (11:50) narrator Ivor Cutler recites the words of Edward Lear over Neil's
wonderfully fitting jazz-infused orchestra soundtrack. (22.875/25)

"Three Poems": Norma Winstone sings the poetry lyrics of W.B. Yeats, James Joyce, and Lewis Carroll, respectively,
during the following three musical renderings of Neil's own musical interpretations. Norma was fresh off of being
voted by Melody Maker magazine as the top female Jazz Singer of 1971 (which makes this quite the coup for Neil).

B2. "After Long Silence" (4:09) Norma Winstone has an incredible voice: one that I would follow to the ends of the
Earth. Her voice reminds me of the upbeat, positive tones of both Swing Out Sister's Corinne Drewery and No Small
Affair's Demi Moore performance of "My Funny Valentine" as dubbed by Chrissie Faith. (10/10)

B3. "She Weeps Over Rahoon" (3:22) Norma, again, but this time singing a very different style: here sounding like a
fuller voiced, whisper-toned version of the great modern avant prog singer Elaine di Falco (Thinking Plague, Francesco
Zago projects for Fading Records/AltrOck Productions in the 2010s). (9.125/10)

B4. "Will You Walk a Little Faster?" (3:48) opening with some upper register scatting ]]>�once the song gets into full swing (pun intended) it's a showtune tour de force/extravaganza. Ver ysimilar to the skill
level and stylings of Barbra Streisand's Broadway career and previewing the type of sounds and skills we'll soon be
hearing from Renaissance's Annie Haslam. (9.25/10)

Total time: 48:08

A zesty tongue-in-cheek version of the UK national anthem ends the album, but we don't need to count that (as fun as
it was to hear everyone in the studio's control room cracking up at the end).

Neal was one of those incredibly gifted and talented humans whose artistic abilities almost require one to drop the
mantle of "Renaissance Man" on his shoulders. What a loss to the music world it was that his career in the writing and
publishing world spawned such a lucrative and demanding life for him. (Author of Britain's World Book Encyclopedia
and founding member of the Dorling Kindersley [DK] "How Things Work" series of children's books--all of which led to
sales in the multiples of millions.) Each of his symphonic, choral, and New Jazz Orchestra projects could have
generated equal fame and, hopefully, fortune. But here we are.

A/five stars; a masterpiece of music no matter what kind you want to call it. I am so glad to have discovered this
amazing album; I will cherish FOREVER!

RETURN TO FOREVER Where Have I Known You Before (Jazz Rock/Fusion, 1974)

Tue, 25 Aug 2026 18:27:33 EST

Review by Fercandio46 — It wasn't as if a great deal had changed since 1973 and the previous album, yet a small shift, akin to the butterfly
effect, occurred: the swap of guitarists and the arrival of Al Di Meola revolutionized the rest of the band. This
brought a previously unseen dynamism, as well as a new power and cosmic dimensi]]>�element.

"Vulcan Worlds" is a Stanley Clarke track where everyone gets a chance to shine; it features funk elements
alongside the psychedelia Chick introduced via Moog distortion. Yet the defining characteristic of the ]]>�the band's sound up to 1975: is that the quintet sounds raw and gritty, yet simultaneously precise and perfectly
organized. They weren't afraid to sound like they were in the middle of a rehearsal, simply jamming together;
therein lies the charm of this era with Di Meola, prior to the polished (though equally brilliant) Romantic Warrior.
Far from sounding academic, the group's virtuosity resembled an engine that the audience or listeners could hop
onto and ride forward with them. The guitar work was funky, distorted, and gritty, while Stanley Clarke's bass
soared at high speed, weaving its own distinct melodies, a trait that always set him apart, all propelled by the speed
and precision of Lenny White.

"Where Have I Loved You Before" is the first in a series of interludes, and what interludes they are, where Chick
Corea sets the mood with acoustic piano, like a luminous nebula amidst the blinding darkness of the universe being
presented. The Rhodes floods everything with its magic at the start of "The Shadow of Lo," and the defining
characteristic of the compositions on this album is their elasticity; they sound free, fresh, and improvised,
seemingly open to change from one listen to the next, unlike more rigidly structured records. The tracks feature
multiple sections, and when the music shifts, the bass acts as the driving force propelling the rest of the band; yet,
they pass the baton seamlessly, as if in an Olympic relay. Di Meola sounds as though he had been playing with
them forever, that is how perfectly their sound meshed. It is reminiscent of when Steve Howe replaced the great
Peter Banks in Yes.

"Where Have I Danced with You Before", blending flamenco and classical styles, serves as the second interlude; it is
an immersion into another possible world, offering a multitude of moods on a single ]]>�planet, until "Beyond the Seventh Galaxy" arrives. Here, Chick Corea's compositional hand is evident in the
irregular, polyrhythmic meter that nonetheless maintains an infectious groove. There is a sentimental, melancholic
side before the guitar launches its attack, creating the impression that the simultaneous playing of all the musicians
completes the complex creation of that universe.

"Earth Juice," with its driving, relentless beat, is almost danceable, a mix of funk and tribal styles. Di Meola's guitar
sounds razor-sharp, as if slicing right through the recording equipment, while Lenny White's rhythms are unique,
constantly adding new layers. The album boasts such incredible variety, proving that music can be entertaining and
fun while remaining technically sophisticated.

"Where Have I Known You Before?" is the third interlude... a relaxed, peaceful sigh; watching a sunset shift its colors
to those ushered in by the night... with the essence of the night palpable... "Song to the Pharoah Kings", the
centerpiece suite of Where Have I Known You Before, began with an ethereal quality that made it feel otherworldly,
yet perhaps for that very reason, closer to something profound; the synthesizer introduction drew Chick toward
electronic music, and when the band joined in, a "Big Bang" erupted, creating the Return to Forever we all know, a
quintet that didn't sound "perfect" even though their playing was flawless, yet they prioritized feeling, and that
made them perfect; it was, in a sense, a different kind of perfection.

ET CETERA (DE) Knirsch (Krautrock, 1972)

Tue, 25 Aug 2026 16:58:13 EST

Review by BrufordFreak — Recorded at MPS-Studio, Villingen, March 1972; released by MPS Records ‎later in the year, probably in the Summer.

A1. "The Really Great Escape" (4:20) the European version of the song that would become the title song of Larry
Coryell's next album. Jon Hiseman's drumming (and the band) sounds so much like Jimi Hendrix's trios. Larry's voice is
a bit underwhelming and unconvincing. It's good for its ilk but nothing groundbreaking. (8.75/10)

A2. "Sun" (5:00) really nice gentle jazz over which Wolfgang Dauner explores with his piano. Larry occupies two or
three tracks: two rhythm (one electric and one acoustic?) while his bare electric flurries and scurries over the top. Jon's
drumming is beautifully restrained (which is so unlike him!) and G]]>�when Larry goes a little crazy in the fifth minute, really hyping the band up. But then things soften up down as
Wolfgang's tinkling of the ivories continues to soothe and hypnotize. What a cool, creative, and unusual song! I LOVE it!
Perfect First Wave Jazz-Rock Fusion! (10/10)

A3. "Yan" (12:50) this one opens with two full minutes of experimental noises created on a synthesizer (probably using
dials as AREA and the Berlin School electronic artists were doing at this time). In the third minute Wolfgang's electric
piano joins in and seems to be taking over but the synthesizer sounds resume playing around, reclaiming their
leadership role, until the end of the fourth minute when a conga takes over, setting forth a simple rhythm pattern
which is soon joined by Jon's spacious play on his drum kit and, later, by Larry's playful sound experimentation on his
electric guitar and more of Wolfgang's creative synthesizer and tape editing clipping noises. Around the nine minute
mark some louder drum/percussive noises are introduced but then it gets quiet again until radio-like clipped voices
speaking in gibberish (or severely chopped-up language) as a frantic blowing also joins in. Then in the eleventh minute
things get really quiet: 2001: A Space Odyssey quiet. And yes: it's eerie. It even builds into some cacophonous SWANS-
like noise before everything comes "crashing in"--before coming out into the fully-formed piano-based jazz motif that
is the start of the next song. Weird but understandable when the context of all the technological developments
popping up at the time is taken into consideration. I can't say that necessarily "like" it but at least it has the gift of Mr.
Time Machine, Jon Hiseman's impeccable sense of rhythm to keep us grounded in something in part sane! (21.25/25)

B1. "Tuning Spread" (11:05) piano based Jazz-Rock Fusion in which Wolfgang's piano, G]]>�drummer/percussionists weave each their own consistent (and not random/willy-nilly free jazz) rhythm patterns into
one forward moving tapestry over which first Larry and then Wolfgang. The groove G]]>�have going in the sixth and seventh minutes is incredibly infectious: compelling the listener to get on his/her/their feet
to move those hips. In the eighth minute the band opens up space for Jon to show a little of his drumming prowess,
but then they all come back to the main groove (with Larry flurrying around within the mix) until they slowly break it
down and close it out. A song with some excellent parts, some excellent surprises (I never thought the opening display
of independently-minded musicians would ever come together into such an elegant and hypnotic groove like they
did), and some excellent musicianship--across the board. (17.75/20)

B2. "Yin" (9:50) a wonderfully soothing yet psychedelic exploration of music's transcendental potential and effect on
the human. There is some minimalist grooving, coming together to try to hypnotize the listeners (and perhaps entrain
the musicians), and yet there is an awful lot of individual creativity and experimentation going on, as well. And, yes, for
those true music historians: this is a song that Larry would adopt and carry forward to his recording sessions for his
1974 album Introducing The Eleventh House with Larry Coryell. (18/20)

Total time: 43:05

B+/4.5 stars; without the one experimental electronic song that has aged poorly this would have been a masterpiece
of wonderfully experimental and grooving Jazz-Rock Fusion; four GREAT songs! I'm tempted to rate it as such anyway
despite the flawed 13 minutes of annoying futility, but, rules is rools.

DEEP PURPLE Machine Head (Proto-Prog, 1972)

Tue, 25 Aug 2026 15:31:52 EST

Review by martindavey87 — By 1972, British rock legends Deep Purple had demonstrated a work ethic unheard of by today's music industry
standards. In the span of four years, they'd released five studio albums and one live album. They'd dabbled in psychedelic
music, classical collaborations, and bluesy-inspired hard rock. And with recent output such as 'In Rock' and 'Fireball',
they'd finally settled on a sound and established themselves as one of the premier hard rock/heavy metal bands.

And so, with 1972's 'Machine Head', it was truly time for Deep Purple to take over the world.

Featuring a selection of absolutely iconic hits, outstanding musical performances, and without a doubt THE most famous
guitar riff of all time, 'Machine Head' sees Deep Purple really fire on all cylinders. The production is fantastic, and holds up
to this day, giving the band a heavy crunch that wasn't too common in those days, and really helps highlight the virtuoso
performances of every member.

Particular praise must go to guitarist Ritchie Blackmore and keyboardist Jon Lord, who's chemistry is laying the
foundations for legions of guitar/keyboard duos to follow, and vocalist Ian Gillan, who is setting the standard for high-
pitched metal wailers for years to come.

Featuring classic hits such as 'Highway Star', 'Space Truckin'', 'Maybe I'm a Leo', 'Pictures of Home' and the legendary
'Smoke On the Water', this is Deep Purple at their very best, making 'Machine Head' an absolutely essential addition to
every hard rock and heavy metal collection.

SULPHUROUS SEA Sulphurous Sea (Symphonic Prog, 2025)

Tue, 25 Aug 2026 14:13:02 EST

Review by ProgExpert — On this earlier album, Sulphurous Sea already knew how to cast a spell. The music inhabits a single twilight world, and although its palette is somewhat narrower than that of the record that followed, its constancy often becomes hypnotic. This is music less interested in dramatic contrasts than in sustaining one mood until it begins to feel like a place.

Anyone who loves the instrumental side of 1970s Camel will immediately understand the appeal. Vintage keyboards and synthesizers drift warmly through the arrangements, sometimes carrying the melodies and sometimes hovering around them like mist. The pieces unfold as patient reveries, intimate in scale but rich in atmosphere. There are also echoes of Nobuo Uematsu's finest Final Fantasy soundtracks and the pastoral mysticism of Oldfield's Ommadawn.

Highly suggested!

SULPHUROUS SEA Flake of a Memory (Symphonic Prog, 2026)

Tue, 25 Aug 2026 14:01:03 EST

Review by ProgExpert — Sulphurous Sea draws beautifully from the instrumental passages of Camel's 1970s work, creating
music that is deeply evocative and haunting. The album sustains a dreamlike mood throughout, with
every sound carefully chosen to build its distinctive atmosphere (vintage keyboard and synth sounds,
a delight).

At its finest, it also recalls the melodic imagination and sense of wonder found in Nobuo Uematsu's
best Final Fantasy soundtracks: music capable of suggesting vast landscapes and forgotten worlds,
like the album cover suggests. A more streamlined version of Oldfield's Ommadawn, and we all know
there is never enough music in that vein around.

There is enormous talent and promise here. Young musicians who still believe in music's power to
transport us and make us dream deserve our wholehearted encouragement.

Please keep composing and furthering your writing ambitions. We are all here for it!

COLOSSEUM Daughter of Time (Jazz Rock/Fusion, 1970)

Tue, 25 Aug 2026 13:22:09 EST

Review by BrufordFreak — The last Colosseum album before everyone goes in different directions for a few years. Material for the album was
recorded in the summer of 1970 at Landsdowne Studios in London, all of it (except for the live track, "Time Machine")
being brand new or untested by concert performances. The sessions also suffered from various members' other
commitments/scheduling conflicts. Still, the songs were painstakingly crafted before being sent out for mastering and
then released in the UK by Vertigo Records in November of 1970, by Dunhill in the USA soon after. The band was able
to rally and keep it together long enough to follow up the album's release with a fully-committed tour through out the
winter of 1971 (whose high-spirited, high-quality performances have been captured for posterity on live recordings
that were made available on the wonderful Colosseum Live 1971 release as well as bootlegs and several 2020 releases
by Repertoire Records).

1. "Three Score and Ten, Amen" (5:36) Wow! This is a fully-formed Jazz-Rock band: with a foot in the theatre lights of
the West End with their new vocalist Chris Farlowe's Jesus Christ Superstar-worthy voice and performance and the
band's huge, almost orchetral BLOOD, SWEAT & TEARS sound! POWERFUL. EXCELLENT! (9.875/10)

2. "Time Lament" (6:04) a very cool orchestra-assisted opening one minute intro puts on display some amazing
arranger skills (grace ]]>�fully-borne out song that emerges in the second minute is very broad and very deeply layered, sounding, again, like
something almost orchestral or symphonic. Whereas the initial melody lines explored in the intro felt nostalgic of both
old and recent film scores, the fully-fleshed out beast that emerges with Chris Farlowe's melodramatic vocal
performance is at first Procol Harum-esque but then it turns very Symphonic Prog mixed with Jazz-Rock as well as a
heart-rending lounge singer-like theme, all occurring in the instrumental passage lying between Chris' first and second
vocal forays. Wow! has this band grown! (9.625/10)

3. "Take Me Back to Doomsday" (4:26) opening with a piano-based dinner theatre-sounding intro, the song starts to
form and morph into something quite different--something at first more deeply emotional as Jon Hiseman's drums
and Louia Cennamo's bass join in. But then the distorted electric guitars enter with their strumming and Jon ramps
things up into something more aggressive and dynamic. However, the instrumental passages between composer
David Clempson's vocal verses while still busy become much more dreamy and soothing (as are the "take me back"
chorus sectiond that lead into those sections). Interesting and rather amazing! Even the ending fade out--using just
the high end first--shows how much these guys have grown! (9.5/10)

4. "The Daughter of Time" (3:30) another long, rather theatric intro (50 seconds) opens this before Chris enters to once
again command the spotlight in the same way that an Andrew Lloyd Weber lead character would on his West End
stage. (Think Judas' performance in Jesus Christ Superstar). Cool song! (8.75/10)

5. "Theme for an Imaginary Western" (4:05) another one of the band's Procol Harum-like starts turns into something
more Allman Brothers/rock-ballad like as Chris sings in a more personal, less theatric style with David Clempson's lead
guitar walking around his fretboard the entire way. Choir of background vocalists is backed/enhanced by saxophones,
organ, and probably Mellotron. It's good, well-rendered, just not the most lasting effect. (8.75/10)

6. "Bring Out Your Dead" (4:25) weird little organ-centric piece that sounds like a cross between THE NICE, PROCOL
HARUM, and early FOCUS. Excellent song with great performances from the band at the bottom as well as all of the
soloists on top. (Nice to hear Dave's organ back in a prominent place.) (9.125/10)

7. "Downhill and Shadows" (6:11) after a creative two-sax tracked Jazz-Bluesy opening, this one turns into pure Blues-
Rock of the late 1960s kind. When Chris Farlowe enters one almost thinks that Jimi Hendrix has joined a brass-
expanded version of CREAM or LED ZEPPELIN. Very good. Great sound and play from bass player Mark Clarke and
great sax and guitar play from Dick and David Clempson, respectively; sounds like a preview of STEVIE RAY VAUGHAN.
(9.125/10)

8. "The Time Machine" (live at the Royal Albert Hall, July 1970) (8:12) opening with quite the rousing drum solo from Jon
Hiseman--it sounds like he's taking some surfer-beach jam and making it his own--really making it his own. If you hear
the way Jon expresses himself through his drums with extreme melodic sense--not unlike the skill/gift of Billy Cobham-
-you might better understand why I hold this drummer as one of the pantheon of Greatest Drummers as I do.
Otherwise, this would be just another drum solo. But, as it stands (and it is so well recorded!) it is highly engaging,
impressive, and even enjoyable. (13.75/15)

Total Time 42:29

With the arrival of a competent lead guitarist it feels as if both Dave Greenslade and, moreso, Dick Heckstall-Smith's
roles and prominence in the overall mixes have diminished. I do concur with several other reviewers, however, that
this album represents Colosseum I's finest hour.

A/five stars; a masterpiece of very sophisticated, intricately-layered, fully-symphonic, wonderfully-composed and -
rendered, proggy Blues-Rock Fusion.

COLOSSEUM Those Who Are About to Die Salute You (Jazz Rock/Fusion, 1969)

Tue, 25 Aug 2026 09:15:36 EST

Review by BrufordFreak — The material for the new band's first album was recorded in November of 1968 and then released by Fontana Records
in March of 1969.

1. "Walking in the Park" (3:51) the effects of the band members' Blues/R&B "training" is very evident with their choice
to cover this Graham Bond song: from its opening bass riff the structure is rooted solidly in the Blues traditions.
Where the band shows Jazz influences are in David Greenslade's organ play, Jon Hiseman's very active and surprisingly
creative use of syncopation and machine gun fills, as well as the volume of the "horn section" of Henry Lowther and
Dick Heckstall-Smith. James Litherland's vocal is great but it's more the presence of that gravelly male voice that
reminds us of the heavier musical styles forming and erupting in the late 1960s. There's a lot of work to do before a
higher quality of sound engineering and the band members' individual styles blend together in the cohesive style that
is to come, but the talent is definitely on full display! (9/10)

2. "Plenty Hard Luck" (4:23) another blues form over which Dave and Jon put on a clinic of Cream- and Argent-like
Power Rock while Dick and the rest of the band seem to lag a bit "behind" in the rudiments of the Blues World. James
Litherland's vocal seems of secondary importance--and he struggles a bit to deliver lead guitar on a level anywhere
near Jon, Dick, and Dave's. As the song opens with a fade in (from a previously-established jam) it is no surprise that
the song's compositional credit goes to the whole band. Busy Jon Hiseman is a little overpowering of the overall music-
-especially when Tony and James are playing in such safe and rudimentary Blues territory. Toward the very end the
band's overall sound seems to finally begin to blend better. (8.667/10)

3. "Mandarin" (4:27) an instrumental that quickly makes room for Tony Reeves to display his bass skills with an
unusually-unaccompanied and -long (over 90 seconds) solo. When Jon rejoins in the middle of the third minute Tony
clicks on the wah-wah effect, turns up the volume a bit, and continues . . . until 3:40! A gong crash signals the return of
the full band into a form and palette that seems totally new and previously un-introduced (which leads me to believe
that this song's four and a half minutes was excerpted from a much longer jam--one that started with the whole band
motif that is displayed here at the end). In all honestly, Tony is not a very impressive (or even good) bass player--even
with the effects turned on! But I would have loved to hear more of the whole band jam that was allowed to come
through at the very end! (8.25/10)

4. "Debut" (6:20) another song founded on a Blues structure, this one, unfortunately, puts some disappointing
restrictions on Jon Hiseman's drumming--which diminishes the quality of both his performance and the song, overall.
Solos from Dick and Dave are fine enough (Dave is actually quite a fine organist--very creative and not afraid to use
odd/new effects), but over this rather dull and dated foundation it just doesn't have any staying power. And then,
unfortunately, plugging James' lead guitar into the mix (at the very end!) does nothing to improve the song or palette.
(8.667/10)

5. "Beware the Ides of March" (5:34) a clear nod (and rather blatant take on the PROCOL HARUM monster hit--the slow
dance of the decade: "A Whiter Shade of Pale"), it does allow plenty of room for Jon to impress (and, boy! does he!),
Dick to add his own creative , as well as Dave to show off his advanced organ skills--as well as some cool piano &
harpsichord after the 2:20 shift, before the band's ramp up in the fourth minute into a hard-driving, fast-paced Power
Rock motif with James Litherland's loud but fitting lead guitar and the rest of the band's frenzied, frenetic letting-loose
play up to the 4:52 mark. Great stuff! A real album highlight for me. But then they return to the sax-led "Whiter Shade"
motif to close things out. Rated up for that amazing middle section (as well as for Dave and Jon's creative skills
displays). (9/10)

6. "The Road She Walked Before" (2:39) this bluesy R&B tune from Dick Heckstall-Smith leans much more into both
recent Jazz and R&B traditions that had proved successful in the Pop World (with artists like Dave Brubeck, Ray
Charles, and Herbie Hancock). I really like this one (as it is far less blues-based). It is, interestingly, the album's only
composition attributed to a single member of the band. (9/10)

7. "Backwater Blues" (7:35) yes, we're definitely reverting to the Blues--the Deep Southern Blues of the Mississippi-
Louisiana Bayou juke joints. I have to admit that James Litherland's excellent here vocals the early performances of
Rod Stewart and Robert Plant--and the guest appearance of guitarist Jim Roche on lead guitar was definitely a stroke
of genius. Both Tony Reeves and Dick Heckstall-Smith really excel: confirming some tremendous talent at playing the
blues; Tony is so disciplined, so precise, and Dick is amazing at expressing the Blues to its absolute limits with both of
his saxes (first tenor, then soprano, then two tracks merged together!) Very cool. I don't normally like the Blues much
but I cannot help but extol the performances here. This is a great rendering of some classic Blues--the only "flaw" in
the sound palette might be Jon Hiseman's too Jazz-flashy drumming! (14/15)

8. "Those About to Die" (4:49) a very spirited song that features some rather astonishing organ work from Dave
Greenslade and some very interesting thematic shifts in the composition. Solos in this instrumental also appear from
Dick and James, but it's Dave that really rises above the crop. Once again Jon's busy drum work feels a little too Tony
Williams-jazzy/busy--which, unfortunately, is not befitting of the song's over all vibe. (8.875/10)

Total Time 39:38

B/four stars; an excellent debut album that shows a band of Blues-trained musicians hell-bent on making something
more vibrant and dynamic than their past bands--more on the level of Cream, Argent, or even Procol Harum. Also, I
don't know if the songs were ordered on the album in the chronology of their creation, but the band does seem to
show signs of gelling better the further the album progresses--which is also born out with their successive work on
Jack Bruce's album as well as their own sophomore release, Valentyne Suite.

ROZ VITALIS Live at Garkundel 2024 (RIO/Avant-Prog, 2026)

Tue, 25 Aug 2026 07:33:16 EST

Review by octopus-4 — There's not much that can be said about this last Roz Vitalis album: it's a compilation of tracks spanning all the 25 years
of the band's activity.
Of course many albums are not represented in the tracklist, Roz Vitalis have a huge output even taking into account that
many of their over 40 albums are live.

One thing to say is that the actual lineup doesn't feature some of the historical band members, but the replacemets
work very well, also because in all the incarnations they are mainly supporting the creative genius of Ivan Rozmainsky.

Despite being a live recording, part of the tracks have almost a studio quality. Only on Premonitions (track 6) there is
some noisy distortion. Wrong recording volumes, on the heavy guitar. I don't know which guitar is being used, but I've
heard a similar sound when I used distortion on very old electri guitars. So likely a technical issue, not a lack of skill.

The instruments sound a little out of tune in the following track, but it's the flute that sounds not well "tempered".

These two "defects" tell us that this is real music. The guitar noise could have been removed in post-production, but not
having done it is a "plus" for me.

Let me draw an example: the concert of The Wall in Berlin was a disaster, but the post production adjusted many of its
faults. As a result we have an album that can't be considered an effective document of that night.

This Roz Vitalis live is genuine. Not correcting the tracks in post production tells us how exactly a Roz Vitalis concert can
sound, and considering that for me attending at one of their gigs is very unlikely, I'm happy to hear their real sound.

For who is already in their sympho-avant-prog, it's a good live with an interesting choice of tracks.
For who is new to Roz Vitalis this can be a starting point as well as the live at the Christ Church Cathedral has been for
Clannad.

Note: this is a name your price release on Bandcamp.

JOANNA NEWSOM The Milk-Eyed Mender (Prog Folk, 2004)

Mon, 24 Aug 2026 19:45:47 EST

Review by kenethlevine — As a tender 22 year old female multi-instrumentalist, JOANNA NEWSOM was already arm wrestling with the big
boys when "The Milk Eyed Mender" appeared, though it took next year's "Ys" for the audience to catch up. This is
to say nothing of her wildly flailing voice somewhere between MS KATE B, IRIS DEMENT and Nanna Brynd]]>��of OF MONSTERS AND MEN with perhaps a spousal affiliation to one of David Seville's chipmunks, take your pick
whom if you even know what I'm talking about.

Apart from the at times luscious harps and etymologically allied keyboards augmenting sometimes surprisingly
conventional melodies, it's really her voice and only occasionally decipherable lyrics (and that's when you can even
discern them) that propels these numbers. She might cite ROY HARPER as a favorite artist and doubtless
influence, but it's COLIN MELOY of the contemporaneous DECEMBERISTS who seems the biggest benefactor of her
curious phrasings in some of the best tracks here, like "Bridges and Balloons" and "En Gallop". For variety and
endearingly kooky rants, give "Inflammatory Writ" and "Peach Plum Pear" a dozen of so sips before you realize
what you are up against. Don't pass up the Appalachia infused "Three Little Babes" or the jazzy "Book of Right On"
either.

I'm told some vocal changes a decade or so hence made later versions of these flowing gems more palatable, but
I'm not even sure what that means when it comes to Joanna, or even whether that's a good thing. But this is all at
least unwittingly addictive and at most congenial genius, even if it doesn't quite hit enough highs to offset the averages, and a
debut that's more raw than homogenized.

CASTLE MOUNTAIN MOON A Layman's Guide To Unobtainium (Neo-Prog, 2026)

Mon, 24 Aug 2026 17:37:54 EST

Review by tszirmay — This German band's debut album caught me, as well as many others by surprise, an unexpected delight. 'Six Tales
of Perception' came out in 2024, and I was overjoyed to have reviewed it, egged on by the realization that Robert
Kohler was a member of German prog band Inquire which I had quite relished in the past, the end result being a
highly acclaimed debut rating. Still manned by two software engineers who decided to wander into musical territory
and write symphonic prog can only be best described as a smart challenge to undertake and even more so, to make
it successful. Keyboardist Kohler and guitarist/vocalist Dirk Krause then merged their talents as a creative force,
with a unique style within a well-travelled genre. As with the debut, guest drummer Gerry Wassong handles all
things percussive.

"Guide to Unobtainium" (a Latinized /scientific bastardization of Unobtainable) launches the hour-long into orbit
with a comfortable blast-off, Dirk's voice soothingly pleasant amid all the keyboard asteroids swooping in the space
behind the microphone. The synthesizer design in particular is both bubbly and luminous. No apparent sign of
electric guitars yet, an interesting detail.

Quatsch! (nonsense), "Real?" immediately solves the issue as here come the buzzsaw axes, the guitars joined by the
bass in unison, chopping away at my presumptuous comment. The hustling tone is electric and vigorous, without
necessarily being heavy or loud, more like a feisty Mercedes race car flung along the autobahn, no brake pedal in
sight, a modern rock assault that leisurely veers midway into a dreamier furrow, where the Kohler keyboards takes
over and the bass helping the subtlety penetrate the arrangement. The second half of this stunning piece is
addictive, but the trio reverts to the initial fury to finish off the situational irony of high expectations.

Something very serious happens here. A masterful enterprise is undertaken with three tracks covering nearly 23
minutes and the fateful core of this album. "Maps Part1" takes the adventure to another twist of the story
unfolding, Krause singing like a romantic crooner in softer realms, surfing on a sea of synthesized pleasure, a
throttling axe splurge to keep the agony going. There will be a "Maps Part 2" , once the fifteen-mile excursion into
an epic 10-minute trek in the desert, searching for the mystical "Valley of the Deep". The Oriental-tinge is
unmistakable, the growling organ caravan showing no remorse in the mirage-laden imagery, the sun suddenly
broiling, the tea kettle boiling and the Seraglio blowing up a sandstorm on the endless horizon. This is one hell of a
cinematographic highlight, expertly woven like the finest silk, close one's eyes and flutter into fantasy land of sonic
wonder. There's the rub, it may have sounded like crossover before but now, its outright symphonic. The second
Maps chapter keeps the mood glowing, cleverly incorporating the two previous sections, welded together by a
titanic mellotron torrent that should blow your tropical helmets into the furthest oasis (if there is one anywhere
close). The lyrics on the intoxicating chorus encompass the spirit perfectly 'Let's forget the world we live in, let's
embrace the hope we feel' and 'Lets accept the deal and give in. Let's pretend the map is real'. Sign of times, wot?
One hell of an epic this, as the Brits say 'No over-egg the pudding here'.

The bar is set very high in the sky, but "Sadness" keeps the atmosphere alight with a drop-dead perfect segue, a
distressed melodic embrace that exudes so much passion and feeling, it's hard not to gulp in admiration. Yearning
for some kind of eventual salvation, the hushed Krause voice only adding enigma to the endless ache, the
instrumental melodicism and attention to detail simply off the charts and compelling, 'and you are left with the
words that only you can hear'. Shifting to "Before My Eyes", the acoustic guitars and melancholic style coming
straight out classic Strawbs pantheon, liquid synthesizer and flowing organ adornments, all within a pastoral,
countrified setting, I could not help feeling relief from all the previous symphonic overload having pounded me into
willing submission. This is utter mellotron panacea and absolutely gorgeous.

"Exit Right" as the title may imply, restores a more reflective sombreness, the lyrics particularly indicative of the
overtly complexity we all seem to drown in, stressed by endless beeps, flickers and dross. The two steps forward,
three steps back syndrome. The synths seem to cry, the bass grumbling along and the guitars bellowing in raging
afterthought. "But the code has a bug in its logic', well two software engineers should know.

The up-front and bellicose bass is simply wonderful on "Scene of A Crime", a suspenseful foray into detective work,
lest we forget that the who and mostly the why come much later, when and where always the first to be
determined. We often get that wrong as well, as lying is the oldest subterfuge. The arrangement favours all kinds of
spooky and dramatic sounds, as if created with a wink to Gowan's Criminal Mind classic or Falco's Jenny (if you are
unaware, look them up !), this case owns the same 'guilty as charged' vibe. The extended axe solo is, excuse the
pun?killer!

"Dreamers" is the welcome finale, as it suggest a positive outcome, after all the twists and turns on the roller
coaster of life, we get to rest, and hopefully dream, a merciful reprieve from all the stress daily life can provide at
will, seemingly. Imperfect silence, perhaps, but still peace.

I gave very high marks to the debut and deservedly so. I never thought this could be even better. Its amazing.
5 Handbooks to nothing

HAWK ON FLIGHT In Time For Hawk On Flight (Jazz Rock/Fusion, 1979)

Mon, 24 Aug 2026 15:35:53 EST

Review by Fercandio46 — Drawing on extensive experience in the Swedish jazz scene as they ventured into rock, Hawk on Flight utilized the full
range of the quartet's capabilities; "Beyond My Rocks" begins with echoes of Herbie Hancock's Head Hunters,
Likewise, Ulf Wakenius's virtuosity on the jazz guitar traversed the realm of rock, tracing a fine melodic line in
between.

Jag Tanker displays its own rhythmic style within the genre's conventions, where keyboards and synthesizers provide a
bed for the bass and guitar to rest upon, while Fat Freddy's Cat blends jazz-rock with disco rhythms, without losing a
funk orientation, alongside those drawn-out grooves.

Every guitar lick on Landscapes foreshadows future productions, showing a certain inclination toward various forms
of fusion. Here, the piano and drums draw upon the classic jazz tradition, while the bass charts its own course with a
more modern, solitary approach, a welcome and healthy counterpoint.

"Hawk on Flight" presents a mid-tempo track featuring synthesizer embellishments, with an almost psychedelic,
hypnotic, and atmospheric quality, that enrich the underlying rhythmic foundation. Matz Nilsson's bass stands out for
its energetic, driving character, interacting with H]]>�funk sensibility to shape the closing track, "In Time."

Even while still searching for their sound, they discovered pure fusion within the very process of that search, following
the arrow toward their own path.

FRODE THINGN�S QUINTET Night Sounds (Jazz Rock/Fusion, 1978)

Mon, 24 Aug 2026 15:35:01 EST

Review by Fercandio46 — The fact that Frode Thingn]]>�Knutsen on guitar, meant the group benefited from the shift toward a fusion-style groove; combined with the timbre
of Frode's trombone, a saxophonist, and two additional drummers, the music certainly didn't lack rhythm.

Tracks ranging from "Soapy Crow" to "After Hours" are reminiscent of the solo work of Billy Cobham, who often
incorporated horns into his funk-infused rhythms. On Samba Loco, he obviously flirts with Latin rhythms, but through
the sophisticated lens of Latin jazz, featuring trombone solos in the style of Ray Anderson or Robin Eubanks and
delightful flute work play by Henryk Lysiak and reminiscent of Dave Valentin, all backed by a funk-infused band, until
"Abraxas" introduces more guitar fusion, with the trombone taking a near-lead role in a rock-oriented style.

The Rhodes is in play, and while it may not shatter genre boundaries, sometimes the point is simply to enjoy
something well-crafted; at times, there are calm passages, hence the title, that add almost cinematic nuances, evoking
the kind of poetry characteristic of that era.

As it is a trombonist's album, it is rich in the use of chromatics, particularly in the interplay between the saxophone
and the Moog synthesizers. Night Sounds concludes with the title track, a danceable jazz-rock piece featuring plenty of
funk, rhythm changes, and syncopation, while also offering a variety of textures to appreciate.

Above all, it is evident that he was a composer and conductor first and an instrumentalist second, as the
arrangements are defined down to the smallest detail, a meticulousness appreciated by a certain segment of the
genre.

MAGYAR POSSE Random Avenger (Post Rock/Math rock, 2006)

Mon, 24 Aug 2026 13:18:20 EST

Review by rdtprog —
The band's music is described as post-rock, but I found more dynamics on this album than on most
post-rock albums I have heard. The slow-paced songs set a melancholic, cinematic atmosphere. The
songs contain sumptuous grooves and intense climactic crescendos. It's instrumental music with some
voices, but no lyrics. The band uses a minimalist approach with plenty of emotion in the music. No
instrument overshadows another. The band doesn't use many notes but delivers the perfect sound and
melody that keeps you on the edge from the first note to the last. From the first song, the vocals
and the guitar remind me of the music of Ennio Morricone. Then it goes into a Tubular Bells kind of
passage, but with an added spacey touch. Some breathtaking piano and synths continue to carry the
melody. The album has to be listened to in one take, like one great song.

PAOLO PAGLIARI Through the Eyes of a Child (Crossover Prog, 2026)

Mon, 24 Aug 2026 09:35:39 EST

Review by alainPP — Paolo Pagliari offers melodic, atmospheric sounds built upon a classic prog foundation. Echoes of Genesis, Pink
Floyd, Camel, Marillion, and APP or BJH combine to create elegant progressive rock with cinematic
arrangements.

"So Begins" opens with schoolyard shouts and a cinematic-symphonic prog build-up?evoking a "Close
Encounters" atmosphere as memories come flooding back. A martial snare drum drives the track?a musical
offspring of Supertramp, Pink Floyd, and Camel?accompanied by a parade of guitars. "Stars in Your Eyes"
begins with a Floydian feel; the organ adds melodic depth while the guitar rides a Gilmour-esque wave. Paolo's
vocals?backed by Doryan and Silvia?deliver a sugary, radio-friendly prog tune (reminiscent of Alan Parsons)
that packs a killer riff. It culminates in a soaring, extended guitar solo that brings Big Big Train to mind. "Father's
Words" is a gentle track, redolent of Barclay James Harvest, recounting a slice of life from a lovingly nurtured
childhood. It features a pastoral, Genesis-style air?complete with flute, Mellotron, and a commanding piano?
while the guitar solo evokes the legends of the genre. Guest musician Luca works his magic, blending influences
from the Beatles, New Wave, Roxy Music, and Marillion to create an explosive sound that is a pure delight for the
ears; simple yet beautiful, it leads into the sound of rain that introduces "Watching Through the Window on a
Melancholic Rainy Day." This track features a delicate arpeggio intermezzo?reminiscent of Dire Straits?evoking
a pastoral mood against the backdrop of a rain-streaked window. The flute calls to mind the melancholic
soundscapes of Genesis as the rain falls.

"Hold On!" takes us back in time with its quintessential 70s sound?Beatles-esque vocals paired with organ and
folk flute. A nostalgic Hammond organ solo cuts through the air, satisfying the prog fan's craving for something
new. "Lune de Mer" follows?a cinematic, maritime moment where the flute seems to walk upon the waves, and
where "Wilson Junior" candidly asks for the song's title. "In the Shelter of Your Eyes" has a Parsons-esque feel to
the melody and a Floydian touch in the fluid guitar work. It is a meltingly sweet tune that stirs the senses with its
cool, jazzy atmosphere and a guitar solo that drifts along, leading into the finale?"Camel Escape"?which
launches into an *Arabian Nights* vibe, a lunar journey with a camel as the backdrop. It is a clear homage to
that forgotten dinosaur of a band, with its lush melodies and fluid, airy guitar work reminiscent of Gilmour
during the melting instrumental sections.
"Memory Box" is solemn and languid, reflecting on life's experiences, the ticking of the clock, and memories.
Faint vocal traces and a flute weave over crystalline arpeggios?or vice versa. A melancholic guitar extends the
nostalgic mood, building into a dreamlike swell that segues into "Light in the Night"; the latter begins with vocals,
with "Memory" serving as its intro. The warm backing vocals from Luca and Irene and the sweet melody?
accentuated by the Hammond organ?show a well-honed sound. The nod to the Alan Parsons Project continues:
grandiose and pompous, much like the Barclay James Harvest of yesteryear, complete with a vintage-style outro.

A unique style of symphonic prog rock featuring three instrumentals; it flirts with neo-prog, inviting the listener
into a realm of musical reverie and introspection. (4.25)

LUNATIC SOUL Transition II (Crossover Prog, 2026)

Mon, 24 Aug 2026 02:19:39 EST

Review by alainPP — LUNATIC SOUL, Mariusz DUDA and his desire to compose alone, a best-combination album following the saga
of his seventh album, "Through Shaded Woods," released in 2020. Between life and death.

"Realm of the Weeping Willows," the only unreleased track, comes from the "Through Shaded Woods"
recording sessions. A staccato ambient rhythm in four parts, with the aggression of the bass, the captivating
organ, the mantra-like drums?in short, a sound that could easily be found on RIVERSIDE. An air from the
austere Polish regions with the tambourine and acoustic guitar, an invitation to travel beyond the steppes, the
flute completing the spell. The vocals fade into the distance, but RIVERSIDE is still present, the grief not yet fully
processed; crescendoing prog rock sets its mid-cycle break.

A Marillion-esque folk melancholy, almost angelic in the air?those already familiar with the genre will surely
recognize it. This ambient passage plunges into darkness, contemplation, a shadowy, ethereal journey, with
hylophobia as a backdrop. The finale, with its vibrant strings and Mariusz's choir, melts away, injecting mystery
and solemnity into the long, repetitive final sound.

"Hylophobia," known for its sharp riff from the 2020 bonus album, still carries that unsettling feeling linked to
forests. A punchy, explosive rock track with a sharp bass line; midway through, the religious, mantra-like, folk-
liturgical choir appears, unchanged from the original. "Vyraj," with bass and organ, instruments of the era, is
undoubtedly a nod to Dead Can Dance. A grumpy, raging folk-dance rock track; A track flirting with the great
Mike Oldfield in a heavy metal version, inviting a hypnotic musical addiction. An entry into Mariusz's singular
universe, his bewitching mythical paradise, beyond the Milky Way. An abrasive, percussive tempo seems to
emerge from a distant past, the vocals whispered, the organ bouncing, and the bass captivating.

"Transition II" remixed and shorter for its LP version. Seven parts featuring an archaic flute, Mariusz narrating
a story as if wandering, much like on Riverside. A slow and progressive start, linear and tribal, with an ethereal
piano reminiscent of Simple Minds. Three minutes of intro before the techno bass, metallic percussion, and
stereo vocals explain the encounter with the Ferryman for the transition. A pounding, contemplative
experience, perhaps challenging for some, this track could easily be played in a nightclub deep in the forest, on
the banks of a river like the Styx. The break from the folk atmosphere reminiscent of Oldfield, a xylophone and
guitar surfing in its own world; cinematic sounds on Inspector Gadget, the music of Reich, Richter, sparkling,
emerging from the melancholy inhabiting Mariusz; a way of compensating for his break with Riverside.

A panting, a race to distance himself from his band, and the atmosphere shifts to a cinematic soundtrack
evoking The Big Blue, airy, crystalline, on Apsaras. The light is definitely there, bringing gaiety to his notes; a
little reminder of "Transition 1," about the birth of his son. The guitar suddenly leans towards Tangerine
Dream before cutting to this solemn piano, ambient Pink Floyd, distant new age, stereo, recalling the album
"Impressions" and snippets of Ange and Barclay James Harvest. This music is remarkable, skillfully balancing
nostalgia, emotion, and sensitivity, allowing us to transcend the ending of RIVERSIDE. The final ambient,
cinematic outro, reminiscent of TANGERINE DREAM, is reminiscent of Tangram and Force Majeure.

LUNATIC SOUL, a musical chrysalis, metamorphoses into ambient, electronic music. An atmospheric,
progressive folk sound that feels fresh and hopeful. A remix album with a beautiful unreleased track feels a bit
underwhelming. (3.5)

PURE REASON REVOLUTION The Dark Third (Crossover Prog, 2006)

Sun, 23 Aug 2026 22:54:50 EST

Review by Prog Dog — I feel like I've just come out of a shopping mall, but instead of bags and shoe boxes, I'm stuffing a mountain of
musical concepts and ideas into my trunk. This is my first handshake with this band, and I'm glad I'm starting my
listening experience with Pure Reason Revolution's debut album "The Dark Third".

This album is a really unique blending of influences. In the most general terms, it feels like indie rock, but one that
ventures into the epic. Gosh, there's so much to distill here: I hear Disney on weed. I hear psychedelia. I hear
progressive rock. I hear Beach Boys-style pop. I hear electronica. I hear Zeppelin. I hear Steven Wilson/ Porcupine
Tree...

I guess you could say this album, and maybe this band, is all about layers: heavy antique curtains, or a chiffon-
layered cake.

Listening to this record has brought something important to mind: you really need to listen to a band's album from
start to finish. Everybody loves a good song, but it's through the full body of their work that you really start to get to
know a band. You start to get a sense of their strengths as musicians, but also who they are as a creative unit?their
instincts, their ideas, their chemistry. You get to hear how they move from one idea to another, how they build an
album, and ultimately, you get a taste of the full wingspan of a band's psyche.

This point really hit home after my first listen to The Dark Third. For example, the album finishes with an amazingly
subtle musical farewell?a phrase that you can only really appreciate if you've journeyed with the band from the
first song to the last. It's like skipping ahead and reading the final page of a book. You can know how it ends, but
you don't have the context. You need to experience the whole journey?all the twists and turns, all the contours, to
really understand where that ending takes you. And to me, that's the essence, and the fun of it. That's why I'm here,
frankly, telling you all this!

The core lineup is Jon Courtney on vocals/guitar/keyboards, Chlo]]>�vocals/guitar, Jim Dobson on keyboards/guitar/bass/violin/vocals and Andrew Courtney on drums.

Instrumentally, there's a lot of clean electric guitar, both strummed and picked, as well as some bottle-neck slide.
That's not to say the doors don't get completely blown off the barn in bursts of classic-rock riffing and inspired
sections throughout this very energetic album. There's also a good smattering of violin, both clean and distorted,
along with some very full-sounding string ensemble arrangements.

There are plenty of atmospheric passages too, featuring synths and echoing guitars, and piano gets its share of the
spotlight. The production is dynamic and creative, handled by Paul Northfield, whose credits include Dream
Theater, Rush, and Porcupine Tree. The drums are often very textural and treated or combined with electronic
beats, with some interesting processing and effects applied at the mixing desk. There's some rainy and wet
sounding cymbal accents from the drums.

Compositionally, there are zero weak tracks or sections. The structure is often tumbling and unpredictable with
ideas constantly shifting, colliding, and reconfiguring.

The vocals are a highlight, often heavily layered, with contrasting vocal lines making for a rich, textured sound. Of
course, the two main singers, male and female, work exceptionally well together, complementing each other nicely.

Lyrically, The Dark Third is a pretty surreal album. It gets into the subconscious, dreams, sleep, and that blurry line
between what's real and what's happening in your head. There's literary and philosophical influence, but the lyrics
do feel like a stream of consciousness. Even the title refers to that 'dark third' of our lives?the time we spend
asleep and dreaming.

So really, this is a satisfying, fairly dense and rich, high calorie album. I really enjoy the time I spend with it. It's a 4.5
out of 5 dog bones (or stars on progarchives) because it does everything an album is supposed to do, and when I
get to the finish I usually want to start it all over again. The songs flow into each other and it has no weak or filler
tracks. It's engaging and interesting at every turn, decked out with amazing vocal layers throughout.

THE TEA CLUB Chasm (Crossover Prog, 2025)

Sun, 23 Aug 2026 22:48:54 EST

Review by Prog Dog — "You can't handle the truth" was a great line in a great movie, but there's something in that idea that applies to all of
us. We like to imagine we're the exception, that we're ready to face whatever truth comes our way.

Chasm feels like a pretty good test of that assumption.

I find Chasm, by The Tea Club, to be a deep album, as deep as the title implies?but it isn't a dangerous place to
go. Quite the opposite. I loved it from the get-go.

It's funny how, historically speaking, artists have sometimes been deemed dangerous by overzealous governments
and dictatorships. Maybe it's because art can be so individual and unique, and therefore inherently threatening to
any force that demands conformity and uniformity. Art has a way of saying, I see the world differently.

And it's not easy being an artist. Not that an artist necessarily has to suffer in order to create good work, but they
often have to work damn hard to bring that work into the world. It's a little like giving birth to something that then
needs to be cared for and nurtured until it can stand on its own two feet?and protected along the way from all the
harsh elements that might keep it from surviving.

That's one reason the first thing that amazed me about Chasm was how original The Tea Club sound. There are
recognizable influences here, of course, but the combination feels distinctly their own. And beneath that originality
is an enormous amount of raw energy and forward drive, coupled with these deeper currents of yearning, for
connection, for meaning, perhaps even for wholeness.

Chasm is not overly polished, and clearly isn't aiming to please the music machines so much as reach for something
beyond and somewhere else. I feel like the more I dig into this album, the more it will reveal itself. It's heartfelt,
often bursting with honest energy and emotion, chasing ideas but also taking the time to pause and take stock.

The songwriting is strong and bold. The Tea Club's sound is reminiscent of grunge and '80s King Crimson/Adrian
Belew, with hints of a youthful Sting and The Police. There's also a hint of Metric with a male vocalist.

There are no long epics here?just short ones. There's lots of bending and building going on here, with a touch of
madness.

If this album got sucked into an AI song-creation algorithm, it would probably become confused and label the whole
thing a corrupted file. There are brief moments when Chasm becomes almost anti-melodic, but purposefully so, I
suspect?creating contrast with the melodies that emerge around them.

You can hear this particularly well on "Vineyard". The Tea Club mostly recorded this album as a band playing live off
the floor, all analog, rather than surgically piecing performances together at different times and in different places.
That sense of musicians interacting in real time comes through. The drums act as the glue, while the chorus winds
like a river through unexpected and beautiful chords. It sounds less like a collection of individually constructed
parts and more like a proper band listening to and responding to each other in the moment.

If I were a cigar-smoking record exec, I'd be yelling, "I don't hear any hits!" And this is a good thing. Long live the
anti-hits emerging from the antimatter universe.

There is one curiously arresting track- 'The Lunar Eclipse', a pretty and sweet piano based song that the band
reports to having struggled with in the recording phase and in the album track sequencing phase. Putting it last
seems the perfect cap or cherry on the top to this adventurous album, and is one of my favourite tracks along with
the album opener and 'Vineyard'.

So, this bold album is not for the timid traveller. It's for the vigorous and strong prog-at-heart music appreciator?
the kind of listener willing to dig in and discover what's hiding in the chasm. I give it a 4.5 out of 5 dog bones (or 4/5
stars on progarchives)

ALAN WHITE Ramshackled (Crossover Prog, 1976)

Sun, 23 Aug 2026 17:59:55 EST

Review by BrufordFreak — Drumming for Yes for less than two years, having admirably taken over for the iconic Bill Bruford (who had left for
King Crimson), Alan was suddenly vaulted into the limelight due to his place at la batterie for one of Prog's (and the
world's) most opulent/visible/groundbreaking bands. After Yes' massive nine-month US and world-wide tours to
support the release of their 1974 studio album, Relayer, the band decided to take a break to recharge. During this
time each of the band members chose to express their individual ideas in solo album releases: Steve Howe's
Beginnings on October 31, 1975; Chris Squire's Fish Out of Water on November 7, 1975; Patrick Moraz' The Story of I in
the Spring of 1976; Jon Anderson's Olias of Sunhillow on July 9, 1976, and this album, Alan White's Ramshackled in
March of 1976. To put together Ramshackled, Alan gathered his most trusted friends and collaborators of old (pre-
Yes), many of whom he met while working with The Mark-Almond Band, Bell + Arc, live touring with Ginger Baker's Air
Force or Joe Cocker, or an album he played on for Johnny Harris as well as a short-lived psychedelic band called Griffin
back in 1969 in which White, Craddock, Kirtley, and Gibson had all played.
Though I've owned this album for 50 years now, and always loved it (though I would never consider it
representative of my preferences in musical styles), I am really looking forward to hearing it under the fresh spell of
having gotten to know the earlier work of artistst like Alan Marshall, Peter Kirtley, Kenny Craddock, Bud Beadle, Steve
Gregory, and Colin Gibson.

Line-up / Musicians:
- Alan White / drums, percussion, vocals, producer
With:
- Alan Marshall (Riff Raff, Zzebra) / vocals
- Peter Kirtley (Riff Raff, Zzebra) / guitar, vocals
- Kenny Craddock / keyboards, vocals
- Bud Beadle (Riff Raff, Zzebra) / saxophone solo, flute
- Steve Gregory / tenor saxophone, flute
- Henry Lowther / trumpet
- Colin Gibson (Sanfu, Alan Hull) / bass, percussion
- David Bedford (Mike Oldfield) / orchestral arranger & conductor
- The Martyn Ford Orchestra / strings
And, special guests:
- Jon Anderson / vocals (4)
- Steve Howe / guitar (4)
- Andy Phillips / steel drums (7)
- Madeline Bell / backing vocals (8)
- Joanne Williams / backing vocals (8)
- Vicky Brown / backing vocals (8)

1. "Ooooh Baby (Goin' to Pieces)" (5:32) an awesome funk tune from Peter Kirtley straight off the bat. It's driving, it's
fun, it's funky, it's a cruisin' song! Alan's soulful LOU RAWLS-like voice (that reminds me of Arnaud Bukwald). Great
album opener! Great Jazz-Rock Fusion. Really gets the blood pumpin'! (9.375/10)

2. "One Way Rag" (4:04) a great funk/R&B tune that sounds like Gerry Rafferty or Gilbert O'Sullivan singing (I'm
assuming it's co-composer Kenny Craddock) and bounces delightfully with Colin Gibson's bass, percussion, Alan's
drums, and, of course, Kenny's piano and organ play. Great contributions from the female background singers.
(8.875/10)

3. "Avakak (aka Twelve Ways to Drink Meths)" (6:54) this is a song composed by Peter, Kenny, and Colin seen as
"Havakak" on the Riff Raff album Original Man. The version the band records here starts out sounding like the intro to
Roger Hodgson's "Fool's Overture" before Peter turns it with an "Awaken" opening riff and the band jumps in with a
very odd funk-Yes-like syncopated chord progression over which soprano sax and guitar provide the jazzy lead melody
in two revolving parts before things stop and start the song over using the full band to accompany Kenny's piano part
until a quiet excursion into "Waiting Room"-like psychedelic percussive play takes over at the four-minute mark for
about a minute before the odd funk-Yes-like motif retakes and Steve Gregory or Bud Beadle supply a flying treated
soprano sax solo over the top of the oddly time signatured Jazz-Rock--and then a Yes-like door opens, someone lets
out a scream, and it's over. An excellent, utterly exhilarating tune. I like this version (though it is very different from the
Riff Raff one) very much. (13.75/15)

4. "Spring - Song of Innocence" (5:00) gentle, soothing, soporific Hawai'ian-like music with some really cool and
unusual instrumental sounds (thanks in part to guest stars Steve Howe and Jon Anderson as well as to Kenny
Craddock's excellent keyboard contributions and Colin Gibson's expressive yet tender electric bass play) that make it
sound as if it could have come from/been intended for Jon Anderson's Olias of Sunhillow album (which was to come
out in July). (9.125/10)

5. "Giddy" (3:11) a Jazz-Rock tune that sounds at first like Nina Simone's Sinner Man before Peter's lead guitar signals a
clear Allman Brothers reference. Alan Marshall's vocal on this Kenny Craddock-Colin Gibson song is awesome,
amplifying the song's Jazz-Rock elements marvelously (as does Colin Gibson's excellent bass play). So much fun! (9/10)

6. "Silly Woman" (3:14) it's Reggae but it's so much more, it's Calypso, it's Ska, it's Afro-Cubano, it's fun and lively. Alan
Marshall channels Joe Cocker, John Martyn, Van Morrison, and even Paul McCartney all at the same time. (8.875/10)

7. "Marching into a Bottle" (1:59) acoustic guitar, flutes, orchestral woodwinds, and hand held percussion instruments
create this quaint little anachronistic Neo-Baroque tune that should probably be on a GRYPHON or AMAZING
BLONDEL album. (4.625/5)

8. "Everybody" (3:13) Alan Marshall has really allowed his voice to evolve deep into the funky world of Soul/R&B as his
Lou Rawls/Sly Stone, backed by some soulful female background singers, the song and its unusual vocal delivery
remind me of something that might be done by Frank Zappa, Captain Beefheart, Eric Burdon, or Kaz Lux. I love how
Alan and the girls bring it together for the choruses. And then explosion and it's all over! (8.875/10)

9. "Darkness" (5:35) yet another Gibson and Craddock composition, this one founded around a very cool swirling
guitar arpeggio. The bulk of this jazzy, soulful R&B tune rests on the voice of Alan Marshall: in the first half it's
anguished and insistent and then, after the orchestral break in the middle and Kenny Craddock's gorgeous classical
piano play, it's Alan's achingly-emotional near-whispered vocal followed by, in the final 90 seconds, David Bedford's
orchestral work over which trumpeter Henry Lowther lays down one of my favorite "goodbye" tributes of all-time.
(9.125/10)

Total Time 38:42

A-/five stars; a minor masterpiece of eclectic Rock and Jazz-Rock compositions that are masterfully performed and
rendered (with great passion and soul). Of the five Yes solos between Relayer and Going for the One, this has always
been my second favorite (next to Chris Squire's Fish Out of Water.) After coming to know the background of Alan's
band mates I am happy to confirm that that bias continues to exist. Highly recommended for lovers of eclectic Rock 'n'
Roll and/or Jazz-Rock: just don't be looking for Yes music!

PINK FLOYD The Piper at the Gates of Dawn (Psychedelic/Space Rock, 1967)

Sun, 23 Aug 2026 15:35:02 EST

Review by greenpete — Closer to psych than what we know as prog, The Piper at the Gates of Dawn was released August 5, 1967. It
is a surreal, slightly ominous title for a rock album. Surprisingly, leader Syd Barrett didn't conceive it. He
borrowed it from his favorite chapter in his favorite book, Kenneth Grahame's fantasy classic The Wind in
the Willows. But the title expertly sums up the mixture of science fiction and children's fantasy that inform
the words and music on the record.

Within these grooves we share English tea with all varieties of the phantasmagoric. Hallucinating gnomes.
Existential scarecrows. Sinister, mind-reading cats. Outer (inner?) space denizens. "The doll's house,
darkness, old perfume?"

Ok, I hear you snicker. "This is the kind of airy-fairy stuff that gave hippies a bad name." You may be right. A
lot of this stuff was done by hack musicians/writers eager to hitch a ride on the magic bus. But . . .

Long before the Summer of Love became an innocuous clich]]>�imaginative, English art students bent on taking music, words, and art to undiscovered areas. The blueprint
for the new music was created by the band Pink Floyd, helmed by the youngest member, Roger Keith (Syd)
Barrett of Cambridge, who named his band after two of his beloved cats (who were named after two
obscure American bluesmen).

According to his sister, Barrett had a rare condition called "synesthesia." Most of us only hear sounds and
see colours. But some "synesthetes" can evidently see sounds, and hear colours. Barrett, a talented
painter as well as musician, apparently exhibited this condition as a child and budding artist, years before
he ever touched a hallucinogen.

In early 1967, Barrett penned two eye-opening singles that titillated the London youth underground:
"Arnold Layne," a true story about a Cambridge transvestite who stole women's underwear from washing
lines; and "See Emily Play," a slice of English whimsy that teeters on insanity.

Based on these singles, EMI Columbia financed Pink Floyd's first full-length LP. It was recorded in Abbey
Road Studios, right when the Beatles were putting the finishing touches on Sgt. Pepper. Legend has it that
the Floyd members occasionally peeked in on Lennon and McCartney to absorb the brilliance. I propose it
was the other way around.

If so, what might John and Paul have heard? There are two faces to this record: an unsettling and ragged
trip into space (I'll call it the Gates of Dawn) and a pleasant and pastoral trip back to childhood (The Piper, and this would be all Syd). I'll save The Piper songs for later.

"Astronomy Domine" "Pow R. Toc H.," and "Interstellar Overdrive" come close to the later Floyd sound and
were staples of the band's blinding, liquid-light-fantastic live shows. All soar into space on the static-y
strings of Barrett's guitar. "Astronomy" is bolstered by Nick Mason's tribal drumming, and the 10-minute
"Interstellar" by Richard (Rick) Wright's cosmic organ. "Pow R. Toc H.," one of the album's lesser songs, is an
instrumental crammed with vocal and instrumental sound effects, but it has a characteristic spacey
Floydian closeout.

Let me interject that Barrett on guitar was no Eric Clapton. But he made up for technical inadequacy by
bravely exploring the instrument's electric and aural capabilities (using a silver Telecaster adorned with 15
circular mirrors). He pioneered a technique of channeling bottleneck slide through an echo device, and it
gave the Floyd a distinctive eerie sound.

Back to the songs: "Take Up thy Stethoscope and Walk" is Roger Waters' very first composition. Nothing
notable here except the paranoid vocals by Barrett.

"Lucifer Sam" is a sleek nugget about a third feline owned by Barrett, a mysterious Siamese named Sam.
The descending chords and twangy guitar lines have been described as "psychedelic Duane Eddy," and
recall the Sloan-Barri hit sung by Johnny Rivers, "Secret Agent Man." Sean Connery always pops into my
head. It's the closest song to a "hit" single on the album, IMO.

Now for The Piper part of the record: these songs were written exclusively by Barrett. "The Gnome" and
"The Scarecrow" might as well be solo Barrett. I'm not sure if anyone else even plays on them, except
perhaps Mason offering soft percussion help. Both are pastoral evocations that capture children's
fascination with the unreal possibly being real. "The Scarecrow," also, has a rolling melody that may have
made Paul McCartney blush while eavesdropping on the proceedings.

"Chapter 24" is a collection of observations lifted from the I Ching and set to music: "Change returns
success/Going and coming without error/Action brings good fortune/Sunset, sunrise." This song may have
been inspired by Barrett's interest in Eastern philosophies. Like other young people seeking new ways of
thinking, he'd attempted to join a Sant Mat sect, but was rejected for being too young.

The oddest song here is probably "Bike:" "I've got a bike/You can ride it if you like/It's got a basket/A bell that rings/And things to make it look good/I'd give it to you if I could/But I borrowed it." Note the rhyming,
alliteration, and syncopation. Also, the little lyric twist at the end. On surface, the lyrics seem like nonsense.
But Barrett was a skilled writer, and like all great writers, he understood the power of letters and words.

Now for the pi]]>��and lyrically, they're a joy to listen to: "Matilda Mother" and "Flaming."

"Matilda Mother" is a bittersweet memory of Barrett's about fairy stories read by his mother, with lyrics
partly inspired by Anglo-French writer Hilaire Belloc, especially his 1907 parody Cautionary Tales for
Children. The best psychedelic music was less about hallucinating through drugs than about transcending
the mundane, and in "Matilda Mother," Barrett yearns to throw off the rigidness of adulthood and return to
the comforting calm of his mother, and the "scribbly black" lines she recited, where the phantasmagoric
was tangible, colours pulsate with life, and "everything shines." Rick Wright, the low-key, underrated
keyboardist in Floyd, who later also wrote several evocative songs about childhood, sings the verse, while
Barrett sings the slightly bitter chorus ("Oh, oh mother/Tell me more?").

"Flaming" is my favorite song on the album. Originally entitled "Snowing," it's a tune that requires little effort to listen to, just opened ears, an open mind, and a willingness to float on "eiderdown" through fields of buttercups and dandelions. Listen to this with a good set of headphones and let Wright's deep organ fills
wash over you, and Barrett's stirring multi-tracked vocals warm your insides. You may giggle at the sudden
entrance of a cuckoo. But then, you're supposed to. On surface, this song is about playing hide-and-seek.
We were all children, once, so who cannot relate to that? But, as Lewis Carroll, Kenneth Grahame, and Syd
Barrett all knew, words have different meanings. This song is just as much about the exhilaration of being
invisible, floating like a fetus, gazing at the hustle and bustle of a world gone cuckoo.

"Flaming" clocks in at a mere two minutes and forty-two seconds, but it's more imaginative than all four
sides of The Wall. And it has one of the most beautiful musical closeouts ever devised. John and Paul
certainly walked away shaking their heads in astonishment. It's obvious where they got the final notes for
"She's Leaving Home."

Many have tried over the years, but nobody writes songs like this anymore. Very few back then could,
either.

ZZEBRA Panic (Jazz Rock/Fusion, 1975)

Sun, 23 Aug 2026 13:43:33 EST

Review by BrufordFreak — The Zzebra gang is benefitting from the boon that came in the form of keyboardist/composer Tommy Eyre, whose
previous band, Riff Raff, had recently disintegrated. As the instrumental songs are being realized, Tommy convinces
the band to bring aboard former band-mate Alan Marshall for some vocals.

1. "Panic" (4:34). a take-no-prisoners opener for the album, it speeds along at breakneck speed using a fairly simple
template for its basic structure but then employing loud horns and a kind of choir-vocals approach over/within the
peloton. It's good but it could have used something . . . more. (8.875/10)

2. "You've Lost That Lovin' Feeling" (6:10) slowing it down to create a smooth jazzy cover of the iconic song first made
famous by The Righteous Brothers. Nice warm electric piano from Tommy Eyre, nice presentation of the main
melodies of the verses from the horns (Dave Quincy's soprano sax is key), and then guitar-led ramp-up for the chorus
before giving way to Steve Byrd's acoustic guitar for the solo over the second verse giving way to sax and horns for the
climb back to the second electric guitar-led chorus. At this time, the four-minute mark, the music kind of empties out,
slowly, carefully replaced by a Eumir Deodato/Richard Wright-like passage over which a synthy-pan flute sound takes
the lead in a very Jazz-oriented section. Mellotron and reverberating electric piano usher the pan flute to its finish as
well as to the song's close. (8.875/10)

3. "Karrola" (3:59) a repeating rapid-fire bass and guitar line opens this one, over which the horns and rest of the band
present the rest of the layers of the song with Dave Quincy's alto sax taking the first solo over some power Jazz coming
from John McCoy and Liam Genockey's driving rhythm section. Tommy's electrric piano and then horns and Loughty
Amao's African vocal chitter-chatter fill the treble end of the next minute before the whole band converges to take us
out with the main theme. Reminds me of both NUCLEUS and post-Third THE SOFT MACHINE. (9/10)

4. "Liamo" (5:54) this Jazz-Rock Fusion tune feels as if the master tape of the previous song were taken down to half
speed--which makes the legato lines of each of the instruments in the overall weave seem so slow and deliberate.
Horns are very clear and deliberate while electric guitar and electric piano seem to dominate the fills and flourishes
occurring over the top. In the fourth minute a chorus of vocalists seem to chant/sing an African-like line ("Liamo")
while Steve, Dave, Liam, and Tommy continue to add their responses between the chant lines (in their breath pauses).
The problem is that the vocal lines being slowed down as much as the rest of the plodding instruments, it feels as if
the band is playing one of those exaggeratedly depressing New Orleans funereal processionals--only I keep waiting to
hear the sudden shift (as the movies show it) into high-spirited music of celebration and elation. But, it never happens.
The musicians more than prove themselves but the overall energy and feeling the listener is left with is more akin to
big animal stomping. (8.75/10)

5. "Death By Drowning" (2:58) Tommy Eyre is given some time to show off some of the applications his discoveries on
his new electronic keyboards have revealed. In the third minute Dave Quincy joins him with some plaintive soprano
sax play. Very Zawinul-esque. (4.375/5)

6. "Tree" (6:01) It turns out that the previous song was an intro to this one as Tommy's pensive pan-oscillating electric
piano chord play opens this one before vocals and "distant" semi-muted soprano sax join in to sing about something
metaphorical. Nice. At 2:18 there is a rather sudden and delightfully-welcomed shift into higher gear as bassist John
McCoy takes off with some very animated racing funk play daring everyone else to try to catch him. Tommy is the
most successful as his multiple keys are right there at the front of the pack but Liam and Loughty don't seem able as
their sounds are left in the distance. Eventually, Dave's soprano sax convinces everybody to slow back down, which
brings the team back to the opening motif for a vocal-led finish. Nice. Easily my favorite song on the album (despite its
flaws). (9.5/10)

7. "Put A Light On Me" (4:59) clavinet! funky synths! Alan Marshall gets a truly lead vocal role in/over this one as John
and Liam lay down an equally-funky rhythm track to match that of Tommy's keys. Alan is great though the
band/producer still, obviously, don't trust him enough to give his vocal track appropriate front-and-center spotlighting.
(How ironic that the lyric he's singing is about "put the light on me" as he finds himself not wanting to live in the dark!
"I'd rather be on my own," he sings.) A catchy, memorable earworm of a song. Another top three. (9/10)

8. "La Si Si - La So So" (5:12) opening with another great high-speed rabbit run from John McCoy to lead the way,
everybody else is very quick to get in line, even Liam's drums, but more importantly, the horn section's accent blasts
and, of course, Tommy Eyre's electric piano. (He's such a consummate professional!) The first true solo isn't launched
until the very end of the second minute: it's Steve Byrd's searing John Tropea-like electric guitar, followed by Dave's
tenor sax. They're both excellent and the rhythm section below maintains an awesome display of energy and
togetherness. (Big shout out to percussionist Loughty Amao!) Great NUCLEUS-like finish to the album. A true Jazz-Rock
Fusion classic! My other top three song. (9.75/10)

Total time 39:47

I have to admit to having higher hopes and expectations for this album--especially after just finishing the week of
getting to know the output of the band RIFF RAFF--where Tommy Eyre and Alan Marshall previously spent some time.

A-/five stars; a minor masterpiece of Nucleus-like Jazz-Rock Fusion led by some very skilled bass, sax, and keyboard
players. Though there are some low points of inconsistency, the highs are respectably high. Recommended to all Jazz-
Rock Fusion lovers.

RIFF RAFF Original Man (Jazz Rock/Fusion, 1974)

Sun, 23 Aug 2026 12:41:24 EST

Review by BrufordFreak — Sticking together for one more album, Roger Sutton's Riff Raff pull off another very cool Jazz Rock album--something
edging its way into the Canterbury conversation. Perhaps working in Kent (where Canterbury lies) with producer Ken
Burgess (who would go on to work with Tommy Eyre's next band, Zzebra) had something to do with that.

1. "Original Man" (7:40) this Peter Kirtley composition opens with a one minute whole band intro that borders on
sounding like something from one of their Canterbury contemporaries, but then in the second minute things settle
down into a very cool almost downtempo ambient electric lounge music over which Peter sings in a bit of a
Dylanesque style. Peter's lead guitar play in the middle portends the coming of Stevie Ray Vaughan as well as paying a
bit of an homage to his contemporary, Eric Clapton. What a great, powerful song to open an album with! Signs of good
things to come! (14.375/15)

2. "Havakak" (6:06) another really cool Jazz-Rock Fusion song that sounds like something National Health or The Soft
Machine would have done. There is just such a great warmth to the feel of this palette and the soundscape it creates:
no matter if the band is ripping through it (first motif), slowing things down (second motif), blues-rocking it (third
motif), or vamping for Peter Kirtley's extended solo (fourth motif), the sound just wraps around you and makes you
feel a part of it. And to think it was a composition that Peter brought from working with keyboard master Kenny
Craddock and bassist Colin Gibson during their Mark-Almond days! (9.75/10)

3. "Goddamm the Man" (6:09) a Roger Sutton original places us in a juke joint in the Louisiana/Mississippi swamp as
raw steel-string acoustic guitars pick away Jack Johnson style from both the left and right while Roger's funky bass and
Aureo's drums and congas and Tommy Eyre's stanky electric piano and organ add and increase the funky stink
(everybody seems to have taken on at least two tracks). I didn't think I was going to like this once it opened (especially
with Roger's Swamp-style American White Blues vocals) but once it got going, once the background vocals and horn
section's accents were added, the funk just took over: I'm a fan! (9.25/10)

4. "In the Deep" (3:59) Oh, my gosh! Is Robert Wyatt in the house? Peter Kirtley's second offering to the album finds us
deep in the forlorn ballad forms that reluctantly came out of the Canterbury Scene. There is so much funky R&B in
this--and it feels so solid and natural! Every nuance and subtlety injected, added, and feels so perfect, so genius, so
easy! Shades of two of the best to ever do this style: Paddy McAloon (Prefab Sprout) and Roddy Frame (Aztec Camera)
as well as the contemporary master extemporaneosifier, Richard Sinclair. Awesome and alarmingly good! (9.75/10)

5. "The Waster" (5:09) feels a bit like a continuation or variation on a palette, pace, and style used in all of the previous
songs (the sound French downtempo band AIR mastered for their massive hit, << La femme d'argent >>). Roger
Sutton's second composition finds him drifting more into the singing style of Eric Burdon (think "Drink This Wine";
even the lyrical format is very much like that iconic song). I love the laid-back vibe of the musicians' spacious note and
chord play, a late night application of funk. Horn accents, smooth Fender Rhodes, congas and drums, background
vocals, bluesy rhythm guitar, lead sax in the instrumental section, nice, easy-going two-chord construct (think Traffic's
"Feelin' Alright"). It's nice, it's fun, it's warm, it's equally well performed as the album's previous material, just a little
more tranquilizing. (8.875/10)

6. "Tom's Song" (4:22) the title, of course, referring to keyboardist Tommy Eyre, who is the composer of this song.
Though it starts out having a little trouble defining itself and its melodies for the first minute, it eventually metes out
some quite lovely music: the piano playing and synth strings support quite lush and romantic. Roger's bass and
Aureo's congas are muted into the background leaving the synth strings, piano, voice, and Steve Gregory's weirdly-
effected flutes in the foreground. Tom's vocal is rather gentle, doubled up, I think. It's obviously a sad love song about
regret. I like it's edgy classical and jazz influences as well as Tom's genuine emotion. (9/10)

7. "Speed" (9:16) another great construct from multiple influences: the funky blues, American Southern Rock, Traffic,
The Allman Brothers, and a little Van Morrison and The Doors in the mix. Another Roger Sutton original, I consider this
to be not a particularly great or memorable "epic" but definitely another serious and high quality rendering.
(17.625/20)

Total Time 42:41

It feels weird to be categorizing music coming from Great Britain with labels like "Southern Rock," "Swamp Rock" or
"American Southern Rock" but they would not be the only British artists attracted to those types of American sounds.
(Think of Alan Parker's film The Commitments and its characters' connection to the Memphis Horns and the music of
Wilson Pickett.) Almost every British artist who was coming of age in the early 1960s would cite American Blues, Soul,
R&B, and even Jazz as essential foundations and inspirations for their music. Roger Sutton, Peter Kirtley, Tommy Eyre,
and Bud Beadle would be no different. I do, however, give the band credit for hearing and emulating a bit of their own
countrymates of the Canterbury Style.

A/five stars; an eclectic and full-blown masterpiece of sophisticated and highly-nuanced original music by some sadly-
under-appreciated musicians (and band). HIGHLY recommended to any professed and self-respecting music lover.

QUEEN The Singles Collection Volume 1 (Prog Related, 2008)

Sun, 23 Aug 2026 08:22:52 EST

Review by VianaProghead — Review N]]>�
"The Singles Collection Volume 1" is a compilation album of Queen that was released in 2008. It has tracks from all
the first seven studio albums of the band. So, it has three tracks from "Queen" from 1973, one track from "Queen II"
from 1974, five tracks from "Sheer Heart Attack" also from 1974, five tracks from "A Night At The Opera" from 1975,
five tracks from "A Day At The Races" from 1976, four tracks from "News Of The World" from 1977 and four tracks
from "Jazz" from 1978. It has also a non-album's track, a track that was previously unreleased on any of these studio
albums.

"The Singles Collection Volume 1" has twenty-eight tracks. So, from "Queen" we have "Keep Yourself Alive", "Son And
Daughter" and "Seven Seas Of Rhye". "Keep Yourself Alive" is an energetic piece, a straight forward rock song with
different and unexpected changes in tempo, with great guitar and vocal work. "Son And Daughter" is a great hard
rock song that proves Queen could make hard rock with quality and some progressive lines. "Seven Seas Of Rhye" is
an instrumental track. Despite be a short piece is a beautiful song. From "Queen II" we have "White Queen (As It
Began)". It's an acoustic ballad with a dark atmosphere, great lyrics, a nice melody, a great guitar solo and a good
arrangement. From "Sheer Heart Attack" we have "Killer Queen", "Flick Of The Wrist", "Now I'm Here", "Lily Of The
Valley" and "Tenement Funster". "Killer Queen" is a sophisticated and pompous art rock song with great vocals and
chorus. It's one of their best songs. "Flick Of The Wrist" is a great track with nice vocals, excellent guitar work with an
inspired riff. "Now I'm Here" is a song specially noted for its hard riff and great vocal harmonies. It's a powerful rock
number with a heavy beat and catchy vocals. "Lily Of The Valley" is a short song with a nice melody that skills the
great capabilities of Mercury as a songwriter. "Tenement Funster" is a good rock number with a heavy tune. It's one
of the best Taylor's compositions, one who had stood better the test of time. From "A Night At The Opera" we have
"Bohemian Rhapsody", "I'm In Love With My Car", "You're My Best Friend", "'39" and "Death On Two Legs (Dedicated
To...)". "Bohemian Rhapsody" is one of the most known and the best songs of Queen. It's one of the greatest rock
songs too. "I'm In Love With My Car" is a great rock song, simple and catchy. It's one of Taylor's best songs in
Queen's catalogue. "You're My Best Friend" is a beautiful and catchy song with nice harmonies. "'39" is a superb
acoustic ballad with great guitar work and beautiful harmonies. "Death On Two Legs (Dedicated To...)" is a great
rock song with good harmonies, nice piano, amazing lyrics and a great vocal work. From "A Day At The Races" we
have "Somebody To Love", "White Man", "Tie Your Mother Down", "You And I" and "Good Old Fashioned Lover Boy".
"Somebody To Love" is a song with some complex harmonies and guitar solos and an incredible gospel choir too.
"White Man" is a great hard rock song with excellent musical structure, strong melodies and guitar riffs, one of their
heaviest tracks. "Tie Your Mother Down" is a good hard rock guitar based oriented song where May shines. "You
And I" is a very simple beautiful song where the arrangements and performance of all band's members are great.
"Good Old Fashioned Lover Boy" is one of the several music-hall inspired songs of Queen. It shows their humorous
side. From "News Of The World" we have "We Are The Champions", "We Will Rock You", "Spread Your Wings" and
"Sheer Heart Attack". "We Are The Champions" is one of the rock most recognizable anthems, even in our days. It's
simply an amazing track. "We Will Rock You" is a great rock song that soon became one of the best known and most
popular songs of Queen. "Spread Your Wings" is a beautiful rock ballad with good guitar harmonies. It's one of
Deacon's better contributions to Queen. "Sheer Heart Attack" is a heavy punk rock song, probably the heaviest song
that Queen ever wrote. From "Jazz" we have "Bicycle Race", "Fat Bottomed Girls", "Don't Stop Me Now" and "In Only
Seven Days". "Bicycle Race" is a great song with an unusual chord progression with several modulations and multi-
tracked vocals and guitar harmonies. "Fat Bottomed Girls" is a good rock song with an open tuning guitar riff based
in blues and hard rock. It has also a great choral work. "Don't Stop Me Now" is a great song with great quality. It's
one of their most popular songs even today. "In Only Seven Days" is a nice song with a good melody, good chorus
and good musical atmosphere. "See What A Fool I've Been" is a non-album's track. It wasn't released on "Queen II". It
was only released as the B-side of their single "Seven Seas Of Rhye".

Conclusion: As its name indicates this is a compilation album only with tracks that were released as singles. This
isn't a strange thing. As we all know, Queen was always a single's band with the releases of an amount of them. By
the other hand, Queen never was a band with lengthy tracks. It has only singles that were released from their first
seven studio albums. These are singles that belong to their best and most progressive phase. And I think it's
peaceful to say the five first studio albums of the band have many progressive lines and the majority of the tracks
that appear on "The Singles Collection Volume 1" were taken from those five albums. So, we can say this is a good
compilation album of Queen.

Prog is my Ferrari. Jem Godfrey (Frost*)

PRESENT Le poison qui rend fou (RIO/Avant-Prog, 1985)

Sat, 22 Aug 2026 17:25:56 EST

Review by Fercandio46 — The inclusion of soprano Marie-Anne Pollaris added a new ingredient to the concoction brewed by Roger Trigaux's
band, complementing the King Crimson-esque influences found in the electric guitar work and the atonal piano,
courtesy of Alain Rochette. Ferdinand Philippot's bass lines, characterized by the fluid dynamics of jazz-rock fusión,
paired seamlessly with Daniel Denis's drumming, which could just as easily support a waltz as it could navigate the
most intricate, shifting passages. All of this lends Le poison qui rend fou, Pt. 1: Ram Ram va faire "Pif Paf" its avant-
garde flair, evoking an almost cinematic atmosphere, like stepping onto the ledge of an abandoned building, or
recalling the dark, modern waltz-like movements found in the Bob Fosse choreography of All That Jazz.

When the piano stands alone, it is chamber music... but as the guitar enters while the piano continues, an imperial
atmosphere emerges. One imagines that, faced with such a soundscape, the floor simply has to open up and reveal
a doorway to another world, which is the concept behind The Poison That Causes Madness.

The idea of a modern ballet is actually very fitting, because one can envision a choreography for Ersatz, syncopated,
fragmented, broken, dismantled... assembled... and dismantled once more. The piano, the drums, the guitar, they
are all disjointed parts that, together, fail to form anything concrete... and yet, within that lack of synchronization,
something is found: a message, a breath of life. Another, alternative mode of expression.

"Le poison qui rend fou, Pt. 2: Didi, dans ta chambre!" presents something circus-like... something pathetic, an old
theatrical performance where the protagonists are not up on stage but down below. The dynamic between the
electric guitar and the piano is in constant flux, up, down, inducing vertigo; and that is the point: to find no rest, no
calm, no refuge. That is the nature of the avant-garde, as someone once said, someone who might well have lost
their sanity through such intense contact with art. It is a fire that burns, yet one cannot help but draw near, like
insects to a light, while the piano plays on, creating a dense, alarming atmosphere that is decidedly not rock.
Urgency is the Word, urgency to speak, to remain silent, but above all to express oneself... in one way or another.

An ominous atmosphere ushers in the album's finale with "Samana"; yet, a spirited fusion bassline and atonal
piano, vibrant even as the music winds down, embark on a futile quest across a disorienting landscape. Suddenly,
calm takes hold, giving way to a suite, an ode to madness. It brings to mind Erasmus of Rotterdam's In Praise of
Folly, where stepping outside the boundaries was seen as healthy, as well as Philippe de Broca's film Le Roi de
Coeur (1966). All these works speak to the same theme, while piano and guitar trace an invisible line connecting the
white of the eye directly to the red of the heart, leaving behind that essential note of unease and intrigue.

RIFF RAFF Riff Raff (Jazz Rock/Fusion, 1973)

Sat, 22 Aug 2026 16:40:37 EST

Review by BrufordFreak — A year after forming and recording the Strabismus material in 1972 as well as the initial Riff Raff material (which would
not see the light of day until 1999), Roger Sutton is trying again: this time with veterans Peter Kirtley, Tommy Eyre,
Brasilian percussionist Aureo De Souza, and Bud Beadle, one of Ian Carr's partners in crime, on saxophones.

1. "Your World" (7:39) a gorgeous little 12-string guitar based song with some great vocals from guitarist Peter Kirtley
turns to blues-proggy Rock 'n' Roll in the third minute, getting heavier until fully-breaking out into some awesome prog
rock in the fourth minute followed by a wonderful slightly-funky Fender Rhodes based Blues-Rock instrumental
passage in the fifth over which Peter then turns his significant talent to his electric guitar, delivering an awesome
lightly wah-wah-ed solo for almost two minutes. Then the music thins and acoustic guitar and Rhodes rebuild while
the lead vocalist ramps things up to reveal a more raspy voice in his impassioned state. But the band softens back up
for the final minute, even sporting some gorgeous AMERICA-like harmony vocals to close it out. Wow! I am humbled--
and impressed! (14.5/15)

2. "For Every Dog" (3:46) a very different version than the one the band had recorded for their original debut record
(which never saw the light of day until 1999): this one is much thinner, more stark and open as opposed to the
brilliantly layered weaves (both instrumental and vocal) of the original. It's still good but there is no doubt that I prefer
the Allan Marshall-fronted version. (8.75/10)

3. "Little Miss Drag" (3:12) sounds and plays out like a "new" Beatles tune. Even the sound production is rather like the
preferences that John Lennon used in his solo career--even the snarkiness of lyrics have Lennon written all over them!
(The songwriting credit cites Sutton and non-members Tony Thorpe and John Richardson as the composers--
possibly/probably friends of Roger's.) (8.875/10)

4. "Dreaming" (4:32) a two part song that starts out rather innocuously with gentle Fender Rhodes, bass, organ, and
cymbal play for the first half minute before Peter's twangy lead electric guitar supplies a Countrified melody before
the band cuts back to nothing. Then they slowly build back up while a gentle male vocal sings with an almost insecure
vulnerability. Then, at the two-minute mark strummed guitars, jazz piano, hand percussion, and bass launch into a
delightfully smooth-yet-spirited two-chord vamp over which Bud's saxophone and Peter's electric guitar play a "solo"
melody line as a twin-duo. Really engaging, pretty and fun. (9.25/10)

5. "Times Lost" (4:15) another gentle multiple picked acoustic guitar weave with one very gentle, sensitive, almost
breathy male voice singing to mimick the Right channel's guitar's treble melody line. I like Roger's fretless bass work
here. Nice song though I would never call this Jazz, Rock or even Folk; it's more like acoustic Folk Rock. (9.125/10)

6. "You Must Be Joking" (7:29) Jazzy Blues Rock?! Using some DOORS sounds and tricks, the music gradually ramps up
into a kind of Jazz-Rock as guitar, keys, and saxophone tracks weave together some pretty intricate riffs and legato
lines. Peter Kirtley's lyrics and voice again have an interesting John Lennon-like snark and cleverness while, as said, the
Fender Rhodes-based four chord music seems to borrow from The Doors as well as early Who and even Van Morrison.
Peter's lead guitar solo in the fourth minute (over some excellent drumming from Aureo) is pretty awesome: definitely
deserving of repeated listens and study. (Why did this dude never really make it to the top?) Then comes a stripped
down passage within which Tommy Eyre lays down some nice keyboard work with his dirty Rhodes before closing
things down by tapering off into . . . silence. (13.75/15)

7. "La M]]>�out their places within the Cosmos. In the third minute Tommy's Rhodes assembles a little momentum, slowly joined
by Roger's bass, Aureo's drums, and Peter's rhythm guitar--which eventually become high-tension power chords over
which he and the boys sing with some confidence and fire. A slow down in the fifth minute leads into an Allman
Brothers-like section, which then ramps back up into the more intense power Folk Rock motif for single- and multiple
voice singing. Then, in the seventh minute, things slow back down and thin out with active bass and steady cymbal
and rhythm guitar play supporting Tommy's heavily treated Rhodes solo. It's a long solo with every one amping up the
further we get into it, but Tommy remaining in the spotlight, taking every second for all he's worth. Bob joins in toward
the end to take the volume over the top, causing Tommy to relinquish his lead (and momentum) which then allows
Bob a turn in the lead, following the same slow build as they did with Tommy, until guitar power chords take back over
as the lead singer returns to declare the song's meaningful intentions before everybody goes into slow decay for the
finish. Nice tune! I really love the way the band orchestrates the tension levels throughout--easily and effectively
transferring it to we, the listener. (22.5/25)

Total Time: 43:05

I think it's the prominent acoustic guitars and pleasant, easy-going voices of Roger, Peter, and Tommy that surprise
me the most about this album--that and the sophisticated, creative, and confident songwriting.

A-/five stars; another minor masterpiece of little-mentioned, perhaps forgotten, song-crafting by some truly excellent
and creative songwriters and musicians. Definitely the product of professionals who know what they're doing (and
seem to have a strongly defined vision for their music). This may not be as proggy as the Top Tier (mostly symphonic)
bands, but it is very high quality music.

RIFF RAFF Outside Looking In (Jazz Rock/Fusion, 1999)

Sat, 22 Aug 2026 11:08:30 EST

Review by BrufordFreak — WARNING: This is a release of material recorded in 1972 that represents two different bands containing some of the
same musicians that just happen to overlap in that year.

Recorded 1972, unreleased until 1999. I was turned on to Riff Raff a few weeks ago so I've been slowly getting to know
their music and their story. I was immediately impressed (and astounded that I'd never heard of them--even in my 18
years associated with ProgArchives) by all of their albums--which made the decision of which album to review first very
difficult since, in learning their story I'd discovered that their first records--their debut album--had never been released
at the time of its creation. But I do like to get to know a band/artist in chronological order if I can, so, of course I want
to start with their first album: the problem is that their first album that became known to the public was their second
album, the eponymously titled Riff Raff from 1973; Outside Looking In never reached public ears until 1999!
As I've been listening to this album I've come to know that the opening 39 minutes represent material performed
by the band's original lineup, a project calling themselves, STRABISMUS, which recorded this material in London in
1972. The second 23-minutes of "Bonus Tracks" represents Roger Sutton and Tommy Eyre's more-Jazz-oriented band,
RIFF RAFF. Sutton, himself a former member of Brian Auger's Trinity project, continued to develop Riff Raff for the next
few years with keyboardist Tommy Eyre, guitarist Peter Kirtley, and drummer Aureo De Souza before giving himself
completely to Ian Carr's NUCLEUS.
Peter Kirtley's most notable credit post-Riff Raff was his contribution to an album that has always remained dear to
me: Yes' Alan White's first solo album, 1976's Ramshackled., while also joining The Pentangle during their tenure in the
1990s.
Tommy Eyre himself was a product of previous collaborations with Aynsley Dunbar and Mark-Almond. He would go
on to make significant contributions to successful albums by Zzebra, Alex Harvey, Gerry Rafferty, Gary Moore, John
Martyn, Greg Lake, Michael Schenker, and Wham!.
Singer Alan Marshall was hired by Zzebra (at the suggestion of the band's newcomer keyboard player, Tommy Eyre)
as their singer for the 1974-75 sessions and tour that would produce the material for the band's classic sophomore
album, Panic, as well as a third and fourth album--which weren't released until 1999 and 2001, respectively.
Brasilian-born percussionist/drummer Aureo De Souza would also find himself hired by Ian Carr, as a percussionist,
for Nucleus' mid-70s classic funk albums, but the material he recorded with the band never reached the public as part
of their studio album releases--only surfaced years later (mostly in the 21st Century) when record labels Vertigo, Andy
Gray's BGO (Beat Goes On) Records, and Esoteric Recordings began releasing retrospective CDs that included outtakes
and live performances.

Line-up / Musicians:
As STRABISMUS:
- Alan Marshall / vocals
- Martin Ball / guitar
- Tommy Eyre / Hammond organ, keyboards, acoustic guitar
- Richie Dalton / saxophone
- Roger Sutton (Brian Auger's Trinity) / bass, acoustic guitars, vocals
- Rob Coombes (Juicy Lucy, Stealers Wheel) / drums, percussion & acoustic guitar
- Joe Peters (Jackie Jocko) / drums

As RIFF RAFF:
- Alan Marshall / vocals
- Peter Kirtley / guitar
- Kenny Slade (Joe Cocker) / drums
- Aureo De Souza / drums, percussion
- Tommy Eyre / Hammond organ, keyboards, acoustic guitar
- Richie Dalton / saxophone
- Roger Sutton / bass, acoustic guitars, vocals

(As Strabismus):
1. "Outside Looking In" (9:12) opening a debut album with a long-playing jam is bold and brave! I guess it lets the
listener know what kind of band they thought of themselves (unless the song order was altered over time or never
decided at the time of its first creation): not hit makers. The material here is heavy, fully Rock 'n' Roll with some
creative touches, nice construction and delivery, more akin to hard rockin' guitar-jammin' bands like Cream, Spirit,
Mountain, Humble Pie, etc. (18.125/20)

2. "The Blind Man" (8:16) opens with a much more acoustic orientation: bluesy piano, percussion and drums,
Hammond organ, acoustic guitars, and vocals from a gravelly-voiced male singer. I'm immediately reminded of
Southern Rock bands like The Allman Brothers and The Marshall Tucker Band. The cessation of the vocal leads into a
rockin' jam with saxophonist Richie Dalton really letting loose with some wild screaming sounds. But then there is this
totally unexpected transition around the five-minute mark into a more delicate, almost folk-Mexican acoustic guitar
motif in which I believe four of the band members drop their instruments to pick up acoustic guitars and then what
sounds like professional choral singers join in singing "Close your eyes, I can feel you" over and over before Alan
rejoins to sing over them to the song's close. Very cool and unexpected song and music. (18.25/20)

3. "Bach B. Minor Prelude" (2:58) a full solo on a church organ! Luscious! Another very cool and unexpected song.
(9/10)

4. "Feeling Paranoic" (0:43) a theatric song that feels like an outtake from Judas' or Jesus' performances in Jesus Christ
Superstar. (4.375/5)

5. "Buthelezi" (3:42) drummer Joe Peters leads the way through a drum & percussion jam that involves Rob Coombes
and others. I love this kind of stuff--especially in live performances (or to participate in) but I'm not sure of its place on
a studio album: it seems as if this space could/should have been given to a proper full-band song composition. But
then I'm beginning to wonder if there is a conceptual theme, intention, or organization to the album. Anyone? (9/10)

6. "So You Want To Be Free" (10:52) the music here is a return to the raw hard rock that we encountered with the
album's opening song, "Outside Looking In." The raw, gravelly voice of Alan Marshall is back up front for the first
couple minutes, then the music transitions into a vamp governed by a quick three-note riff that is repeated over and
over while everyone just jams over and around it: saxophone, electric piano, drums, even, eventually, electric guitar.
The sax solo is the best of the three; guitarist Martin Ball is not "fully formed" yet though he does sound better once
the vamp slows down and punctuates itself like some Swamp Blues and he starts shredding for speed. (I guess he
needed to get warmed up.) Martin's solo section ends with some well-timed whole-band chord bashing which sounds
really cool and inventive--like something King Crimsonian--but then the music turns to smoother blues rock over
which two male vocalists sing, gentler, harmonizing, before the music begins to slowly devolve into just a few
percussion/cymbal noises and guitar and electric piano notes. Brilliant--and so creative! (18.25/20)

7. "Changes" (3:23) acoustic guitar accompanying Alan's singing on what sounds like a cover but apparently is just
another of the album's Sutton/Coombes compositions. Simple and nice; definitely could have been developed into
something bigger. (8.667/10)

Total time: 39:06

A-/4.5 stars; a near-masterpiece of eclectic Southern Power Rock.

Bonus Tracks (as Riff Raff):
8. "Child Of The Summer" (5:59) a jazzy feeling song with a syncopated, complex construction and feeling vocal
performance (reminiscent of Allan's performance on Allan White's Ramshakled). After the chorus the band revs up
and becomes more rock-forceful--but it's still good! Nice wah-wah-ed electric guitar work, great background vocal
work, great dirty electric piano, and awesome bass, drums, and percussion at the base. This is the rock-perspective to
Jazz-Rock Fusion that I've been hoping to find more of! (9.25/10)

9. "For Every Dog" (4:05) a truly awesome acoustic Southern Rock song that should/could've been a radio-friendly hit
back in 1973. Great weave of instrumental performances blessed with a weave of awesome group harmonized vocals.
Shades of The Youngbloods, Crosby, Stills, Nash & Young, Ozark Mountain Daredevils, Pure Prairie League, or the early
Doobie Brothers or Eagles. (9.5/10)

10. "Morning" (5:57) piano-based soft bluesy light folk/Americana pop arranged with an odd triple-hop at the end of
each measure. The singer is mostly backed by another harmonizing vocalist (or vocal track) while acoustic guitars,
bass, and gentle drums back/accompany the piano and singers. I believe a flute may also be in the mix though its
replication of the piano's legato may be just be a second piano track. A very pleasant, not-quite-Cat Stevens, not-quite-
Harry Nilsson tune. (8.875/10)

11. "The Garden" (6:59) bluesy solo piano opens this for about 30 seconds before Allan and the background choir
vocalists join in. The song sounds almost like a church/liturgical piece--something one might hear in the countryside
villages of Ireland. Strummed 12-string acoustic guitar, bass, congas, and drums slowly, almost surreptitiously, join in
as Allan gives his hear and soul to his vocal performance. There is definitely a flute in this one--entering just before the
piano ramps things up with more volume. There is a little Dave Mason "We Just Disagree" sound and feel here. Then
Allan really brings it: belting out with two minutes to go but then things quickly de-escalate as he and his backing
singers sing softly about the importance of our ancestor/elders. It drags on a bit but it's a very nice song with a great
vocal performance and some nice, positive lyrics. (13.375/15)

Total time: 24:00

A-/five stars; a minor masterpiece of Jazz- and Rock-informed Southern Folk Rock.

Total Time: 62:06

I don't usually review "bonus" material in my album reviews (because I want to treat the material as it would have
been heard in the year it was recorded) but then when this was (finally) released in 1999 it arrived in CD format and,
thus, being its first exposure to the public, should be heard as a whole. The problem, of course, comes with the fact
that the material is really the result of two completely different bands: one that never really persisted, the other which
came out and toured for a year or so before scattering its members across the musical spectrum in the UK and US. I
definitely like both "albums" though the Riff Raff "bonus" material is more of the kind of stuff that I'd listen to over and
over. (I almost want to rate the two "albums" separately!

A-/five stars; a minor masterpiece of Jazz-infused Southern Folk Rock.

ALPHA III Rick Wakeman and Yes Tributes Medley and Live (Symphonic Prog, 2021)

Sat, 22 Aug 2026 06:29:43 EST

Review by von bathel — NEWS (ISSUE LP BRAZIL-UNDERGROUND PRODUCTIONS )
VICTOR MARCELLUS NEW PROJECT
CAMPINAS S.P. BRAZIL
AUGUST 2026 REVIEW BY AMYR VON BATHEL CANTUSIO

Victor made some ALPHA III colaborations on drums on the past ages,including the Yes/Wakeman Tributes.

The drummer and producer from Campinas, Victor Marcellus, in partnership with singer and songwriter Lec]]>�
This new project, which already has all 10 songs released on streaming platforms, will now be released as a 180g vinyl record in a super limited edition of only 150 copies.

For this new album, in addition to Victor on production and drums, and Lec]]>��
The LP that will reach the hands of a select group of fans carries the same DNA of the seventies original rock of the previous album ("70"), featuring Victor Marcellus's striking drumming and the classic sound of the guitars, defining characteristics of Brazilian rock from bands of the 70s, such as Rita Lee and Tutti Frutti, Mutantes, Made in Brazil and Casa das M]]>�And to achieve this sonic energy, Victor found in musician, singer and songwriter Lec]]>��The production was entirely carried out by Victor Marcellus himself at Est]]>�