Reviews (all) - Progarchives.com

DEEP PURPLE Live in Japan (Proto-Prog, 1993)

Wed, 16 Sep 2026 21:17:35 EST

Review by ZowieZiggy — Some of youmight know that I'm a Purple maniac.

Studio albums or alive!
I witnessed their MIJ tour in Europe and was present at their concert in my hometown Brussels (Forest National -
March 73) while I was just 14.

This is a souvenir that still shines in my memory. In the meantime, I saw them quite a bunch of times through the
(many) years. And on October 20, 2026 I will see them maybe for the last time! In Madrid (I live in Spain since 2014
but might relocate in Cambodia in a couple of years).

I rate MIJ with 5*****.

This triple CD is the rendition of their concerts in Japan in1972. Osaka (twice) & Tokyo.
But even with the arrival of the CD, it was NOT possible to get the full encores on them.

So "Speed King" is missing on the first CD.
"Black Night" as well "Lucille" (from Little Richard - R & Roll legend) on the second. For a total of about 14 minutes.
"Black Night" & Speed King" on the third CD for just a mere 14 minutes.

Such a shame but that was a technical limitation So, no wonder that some people downloaded this work, right?

The good thing here, is that we have the concerts in the right sequence. Which was NOT the case with MIJ.
Again, due to lack of space on the vinyl.
Each show started with "Highway Star" and ended with "Space Truckin". I mean the qhow without the encores.
So, the first night, the were no "Smoke on the Water".
"The Mule" was always played in 4, and "Lazy" as 6.

And I will get "Highway", "Lazy" & "Smoke" in Madrid. As well as "Black Night" (the single that I bought in December
1970 and which turned me into a Purple freak).
The sound rendition is perfect and is there any wonder that I should rate the triple CD version differently than the
original MIJ?

You have the answer I guess.
5*****. A masterpiece of hard-rock live!!! FOR EVER!!!

KRAFTWERK Autobahn (Progressive Electronic, 1974)

Wed, 16 Sep 2026 20:03:51 EST

Review by Fercandio46 — Listening to Autobahn, both the album and the title track, one begins to notice just how many artists they have
influenced, across both rock and electronic music. The sonic leap from the previous album is immense; there is a
minimalist approach, repetition, and layers of sound that are subtly added one by one, like raindrops we don't notice
until there are too many of them, and it is these layers that drive the changes.

The structure is progressive, evolving even as the same central theme repeats, shifting in timing, speed, and
ultimately, meaning. The synthesizers create a vast stereo universe; we were sensing modernity before it had even
arrived. Atmospheres and moods were evoked; beneath that veneer of coldness lay substance and emotion, and I am
thinking not only of Brian Eno, but also of David Byrne, Magazine, and Ultravox. Suddenly, it feels like a racetrack, and
the synthesizers abandon the melody, though not the harmony.

The synthesizers then reach a certain symphonic depth, before becoming a sort of religious choir as the electronic
drums forever leave behind the mere science fiction of the 50s and 60s. And the Minimoog joins the vocals to create a
new melody towards the end, creating within this staging, a certain form of new modern epic.

"Kometenmelodie 1" is dark and cinematic, with the lead synthesizer contrasting against the delicate piano whispering
in the background, allowing the duo of Ralf H]]>�"Kometenmelodie 2," on the other hand, is luminous, like its counterpart, representing the two faces of the theater. It
once again features the synthesizer-and-keyboard duet, yet here it almost anticipates the modern 80s pop that would
later draw upon its lessons. A symphonic-progressive air drifts through, much like that comet, complemented by
Wolfgang Fl]]>�psychedelic, manner; it gradually reveals itself as a musical painting, rich in textures to unravel, dissect, and try to
comprehend, or simply to let wash over you and feel.

There is something organic about Morgenspaziergang, the sound of the flute and the birds, yet at this point, it is
entirely an experience for the senses, a matter of perceiving and surrendering to them. After so much overexposure
to technology, and the coldness and concrete of highways and "musique concr]]>�are responding, much like their compatriots Popol Vuh, with a return to a certain kind of nature, one whose
uniqueness is only revealed after having left it behind. There is nothing more modern than that.

ELECTRIC LIGHT ORCHESTRA Face the Music (Crossover Prog, 1975)

Wed, 16 Sep 2026 19:10:48 EST

Review by Fercandio46 — As long as the Electric Light Orchestra maintained the premise of being a progressive rock band featuring strings,
they could rely on those very strings, along with the right arrangements, to remain at the cutting edge. However,
with each successive album following Roy Wood's departure, pop music began to take up more space in their
compositions. "Fire on High" boasts a sweeping, powerful start, moving beyond the intro and the female chorus to
showcase that signature element established in their first three albums: a classical-rock orchestra. Yet, while the
compositions on those early records were daring and surprising, featuring dark, original arrangements that
coexisted with rock 'n' roll, the music gradually became more predictable. Face the Music is an enjoyable listen,
though it has its ups and downs; "Waterfall," for instance, is a ballad that, were the strings stripped away, I could
easily imagine Freddie Mercury singing. Those strings could be mysterious, aggressive, or melancholic, and at times
even reminiscent of the Beatles, echoing the production style of George Martin.

"Evil Woman" is a great song, the first of the nods to disco they would incorporate, yet played in a glam-rock and
funk style. It's a spirited, groovy track featuring prominent drums and Bee Gees-style backing vocals; the strings
serve the disco vibe, complemented by a funky clavinet part that made, and still makes, the song a lot of fun
(proving that progressive rock can be fun, too). At times, the strings would play around and break the conventional
mold, and whenever Jeff Lynne was in a festive mood, he really brought a great vibe to the music.

"Nightrider" is built upon the backing vocals and all the signature trappings they had established, the voices and the
swirling strings that seemed to spin like a Ferris wheel. Yet, it still sounded fresh; at times, the music would hang
suspended in mid-air, leaving the female backing vocals alone for a few seconds before everything instantly rushed
back in. There was also a dreamlike section, a compositional triumph, infused with a burst of energy that snapped
the listener out of that reverie; it was in moments like these that ELO truly shone with a symphonic brilliance.

"Poker" was another fast-paced rock 'n' roll track, yet Richard Tandy's Minimoog, Lynne's guitar, and the cellos
combined to create magnificent sonic moments; meanwhile, "Strange Magic", which begins like Tchaikovsky's Swan
Lake, transforms into a radio-friendly mid-70s ballad. For some reason, the influence of the Bee Gees and Queen
hovers over the album, intertwining with the electric originality of this orchestra.

"Down Home Town" succumbs to an inexplicable country vibe, though the string arrangements are effectively
tailored to that style. "One Summer Dream" begins with the gravity of an opera's finale, with melancholy taking the
lead, yet it balances out a solid, worthy album that delivers all the virtues and strengths one would expect from the
band. The choruses and those robust string parts the band could latch onto saved it from the electric chair, which
they could simply walk right past.

DEEP PURPLE Inglewood - Live in California 1968 (Proto-Prog, 2002)

Wed, 16 Sep 2026 10:33:45 EST

Review by ZowieZiggy — Mark one in concert! A a very rare document.

I discovered oit recently TKX to YouTube. And since I am a HUGE Purple fan (since December 1970...), I listened to it
and decided to post a reviw about this concert. Purple played at Inglewood as guest for Cream!

The audio is quiete good I must say. And what we'll get here is a kaleidoscope of all Mark I albums.
The good point (at least in IMHHO) is that the band is not going to improvise too much on such numbers as
"Mandrake Roots" as well as "Wring that Neck". Two numbers from their own compositions that will be over
extended during the Mark II era. Up to almost half an hour!

So, here they will be played in a "classic" way, and that's very fine.

The covers are very ell rendered and sooooo pleasant as well: "Help!" is gorgeous. And i have to admit that Rod's
vocals work perfectly here. His tone of voice is pretty adequate I must say. and I'm gnerally not very laudatory about
it to say the least. So, when it is good, one has to ackowledge, right?

My fave of all is "River Deep, Mountain High". almost 10 minutes starting with the theme from "2001, A Space
Odissey" and there after, rocking quite well.

Even if there won't be many readers about this live album, it gives a pretty good feeling about what were the Mark I
concert. And therefore my interest.

The band sounds very united and happy to play together. But in the background, things might have been different,
hence the sacking of Rod & Nick a year later. Leading to the most fabulous (IMHO) period of Purple.
Namely Mark II.

This live set ends with their biggest hit, nameley "Hey Joe" that will rank in the US Bilboard.

All in all, this is a pretty good record. I rate it with 4****.

STEVE HACKETT Hackett and Rothery: The Roaring Waves (Eclectic Prog, 2026)

Wed, 16 Sep 2026 09:39:06 EST

Review by arcane-beautiful — The Roaring Waves by Hackett & Rothery sees 2 prog rock guitar legends coming together to create a very
enjoyable if slightly tedious instrumental album. No one can take away the impact Steve Hackett & Steve
Rothery have on the progressive rock world, with early Genesis & Marillion being a massive influence on the
entire modern prog scene since the 70s & 80s, and their monumental playing is always an ace card. But while
they bring such talent to these bands, they are the type of guitarists who contribute to a group more than
themselves as solo instrumentalists. But the noticeable styles between the 2 are noticeable and they do
compliment each other well. The tracks are very well composed and performed, but there isn't too much meat
on the bone. It is overall very well mixed too. I'd give this a high 6 to low 7 out of 10. The track I'd recommend is
The Roaring Waves.

STEVE HACKETT Hackett and Rothery: The Roaring Waves (Eclectic Prog, 2026)

Wed, 16 Sep 2026 09:13:55 EST

Review by VianaProghead — Review N]]>�
"The Roaring Waves" is a collaborative album by two influential names in the European prog scene, Steve Hackett
and Steve Rothery. As we know, Hackett was the main guitarist of Genesis and Rothery is the guitarist of Marillion.
As we also know, Marillion was the band most close to Genesis of all British prog bands that appeared in the 80's.
So, we can say that Rothery is, somehow, the heir of Hackett on guitars. So, we can not be surprised by this
collaborative effort.

Although the initial idea emerged around 2015, "The Roaring Waves" took nearly a decade to be written and
recorded. The sessions were split between the Racket Club (Marillion's studio) and the home studios of both
musicians. The strong connection between both solidified on stage when Rothery joined Hackett at the Royal Albert
Hall in 2024 to play "Fly On A Windshield", one of the most famous tracks of the album "The Lamb Lies Down On
Broadway" by Genesis.

So, "The Roaring Waves" is the first instrumental collaborative project between two of the most iconic guitarists in
progressive rock. The album is a profoundly cinematic, atmospheric and a melodic work, entirely inspired by the
power, mysteries and nuances of the sea, beautifully paced conversation between two master guitarists. Instead of
a flashy "speed trial" or shred-fest competition, the album prioritizes compositional patience, atmospheric depth,
and melodic trade-offs. Hackett's angular, classical-tinged and experimental approach, merges seamlessly with
Rothery's emotional soaring sustain. Having decided to completely forgo vocals and lyrics, the album gives the
listener a true complete imaginative freedom through textures that blend progressive rock, classical music, ambient
and electronic textures.

The line up on "The Roaring Waves" is Steve Hackett (guitar and harmonica) and Steve Rothery (guitar, bass guitar
and keyboards). "The Roaring Waves" also had the participation of Riccardo Romano (keyboards and bass guitar),
Daniele Pomo and Leon Parr (drums).

"The Storm" is the dramatic opening of the album. It begins by placing the listener in the midst of a storm, with the
guitars intertwining to create the tension and force of a storm at sea. This is a beautiful, wild and cinematic piece
that delights the listener, a track that serves more as an introduction to the album than in a particularly loud
announcement. "Sandsend" is a more restful and contemplative track, where the tension eases, evoking a sense of
isolation, a cool beauty and serene atmospheres. It veers a measured rhythm, toward elegant and melancholic
atmospheres reminiscent of Pink Floyd, letting the guitars literally sing in unison. At under five minutes, the track is
correspondingly compact. "Red Dragon" is the shortest track on the album where Hackett introduces the sitar guitar
to give the composition a mystical and an oriental sound. It brings a touch of world music to the otherwise rather
watertight soundscape with folkloric influences, bagpipes and sitar sounds. This is a more playful and less polished
piece than its predecessors. The title track "The Roaring Waves" is probably the most compelling moment on the
album. It begins with a beautiful flourish of classical guitar by Hackett. It's one of the album's highlights, the real
swell. Slowly, the swelling dynamics, guitars giving each other space, and precisely that blend of melancholy and
pathos for both Steves, a real classic prog moment. "K-129" is one of the most experimental and intriguing tracks on
the album. Electronic soundscapes and dark guitars create a very own feeling. Once again, this rhythmic framework
is layered over the two guitarists in a largely improvisational style. It stands out paying homage to the "Kosmische
Musik" and the Berlin School of the 70's. It reminds me of "Gento", by Bisocope of last year, the project of Rothery
and Thorsten Quaeschning of Tangerine Dream. For me, it's one of the strongest tracks on the album. "The Black
Sea", described by the authors as a dark adventure, was chosen as the lead single of the album. It's one of the
album's great melancholic beauties. Rothery's warm guitar meets Hackett's finely crafted timbres. This is precisely
where it becomes clear why this collaboration makes any sense at all. "Pacific Coast Highway" departs from the gray
and icy atmosphere of the previous tracks, an unexpected track. Here, the music gains rhythm and movement with
Hackett playing harmonica and slide guitar, evoking a high-speed car trip along the sunny California coast. It's a
lighthearted, road-movie-esque jam with plenty of vocals at the end of it.

Conclusion: "The Roaring Waves" is a dialogue between two musicians who respect and listen to each other, and
who have acquired the wisdom of guitarists who have nothing left to prove. It's, therefore, a mature, profound and
extremely refined work. "The Roaring Waves" remains above all an album on which two guitarists thankfully
dedicate themselves not to themselves, but to the respective piece and its shared concept. Hackett and Rothery
harmonize superbly with each other, instead of getting lost in an endless competition for the more spectacular
solo. Compared with the album "GTR" of Hackettt and Howe, this is a much better work. I know, those were the 80's.
But I don't know if it's an excuse.

Prog is my Ferrari. Jem Godfrey (Frost*)

UNIVERSO ROJO Impermanencia (Psychedelic/Space Rock, 2018)

Wed, 16 Sep 2026 07:59:00 EST

Review by XixoTheRock — "Universo rojo"s social media accounts have been dead since 2021, the band, located in Vi]]>�Mar, apparently has no plans of coming back together in the near future, I must admit, that just as
there's a mystery around this LP (I will later tell you why!), it remains a mystery why they just
dissapeared from social media for 5 years now!

The band hands us this record in a silver platter, claiming that it is a conceptual record, indeed I
could see where they are going, the way the album sounds is overall telling of the nature of the
record itself, yet, and now I'll tell you the mystery, there's almost no lyrics! It's a semi fully
instrumental album, with the only spoken sections being some indigenous like chants on the second
track "Visi]]>�most likely is Mapudungun, however, these chants and lyrics have no subtitles available on the
description of the track (at least on platforms such as Spotify), and the singer seems to be
uncredited, ladies and gentlemen this is the mystery I told you about! What do these lyrics mean
exactly, and who sang them? It's captivating how a detail so simple can imply so many things!

Musically wise, the music delivers an interesting experience which mixes krautrock with psychedelic
rock and some elements of Zeuhl. Speaking of Zeuhl, it seems to be one of the main genres the band
looks up to, as their publicly available playlist is dominated by bands such as Magma and Weidorje,
as well as kasutrock acts like Popol Vuh and Amon D]]>��odd influences that stand out in their playlist, like the extreme doom metal band Sunnata. Being
highly influenced by classic experimental genres characterized by their use of symphonic
instrumentation, tape effects, spiritual topics and repetitiveness, "Impermanencia" is full of
synthetizers, tape loops, repetitions of bass lines and riffs and a very hypotonic, spiral like wind
of textures and noises, all contributing to the creation of pieces which feel less like music and
more akin to a state of trance and meditation, albeit a very chaotic one. Each composition feels
very much like the previous one, with little variation in the state it indices on the listener, this
overall calmer and more meditative approach to music, will appeal to those invested in ambient and
kraut, but won't satisfy those who prefer Zeuhl or more expressive, grandiose symphonic rock.

The album has a lot of influences, although most can't be felt, but when it shows the signs, it
sounds great! I'd like to point out that I was fairly dissapointed, as I was promised a magnum opus,
a masterclass for the genre and most of the times, the record feels like an experiment halfway done
or a very relaxing jamming session.

The musicianship is good enough, you can feel that each instrument was recorded separately and then
pieced together with the others, they are talented players but you can't really feel much chemistry
between the parts that make the music, if you add this to what I previously stated, you get the full
picture : this record is much more like something "Stars of the lid" would do if they went a little
more experimental and not something that comes out of the chaotic mess of Zeuhl or the mathematics
of krautrock.

My biggest issue with this record is the production, which is straight up unbearable...this record
sounds muddy, grainy, blurry and inconsistent, because yes, some tracks have good production and the
other an awful one, and the difference is so noticeable it makes it uncomfortable to listen to. The
drums can't even be heard most of the time, a record so inspired by krautrock should have a very
clear rhythmic direction and presence, which can't be heard through at least half of the record.

I give it 2 stars because it's an interesting record to dig into and because of how hypnotic and
useful for meditation it is, but musically itself, I don't really see much to highlight...it's
almost as if it were an experiment that was never properly finished, this is sad because this
project had so much potential.

ADVENT HORIZON Faith's Window (Heavy Prog, 2026)

Wed, 16 Sep 2026 06:52:15 EST

Review by BrufordFreak — Over its near-20 years of existence, Utah's Rylee McDonald has seen his high school musical project turn into a kind of
family affair, now adding his partner and wife and their two children to the mix. Still, the Rush- and Led Zeppelin-
inspired artist has emerged as his own musical force.

1. "In A Lone and Dreary World" (19:03) a djenty low end does not deter this prog extravaganza from taking us on a
journey that reminds me of the music of 21st Century projects like LIFESIGNS and NUMEN and even COSMOGRAF and
DAVE BRONS . . . (if a little metal edge were applied). Though I am not a fan of this kind of "plastic" drum sound, I very
much appreciate the skills and creativity of the performance on the batterie exhibited here by Mike Lofgreen (though
it is also mixed into the soundscape as a kind of anomaly of isolated individually-distinguished sterility; that is, the rest
of the sounds are given those standard effects we now associate automatically with prog, i.e. reverbs, distortions,
gates, sustains, compressions, etc.) Oh! really love the voice of Kristen McDonald. The collective sound of the band's
vocal palette reminds me of short-lived band from Naughties, THE REASONING as well as second- and third- album
PURE REASON REVOLUTION (2009's Amor Vincit Omnia and 2010's Hammer and Anvil). Paired up with those
syncopated djenty guitar chords and we have quite a cool sound and mix. Then you have to take into consideration
the common human plight being expressed in the song lyrics: dissatisfaction and distrust of all we've been raised to
believe and value, all we've been told--including that coming from parents and family--learning to listen to and trust
one's own inner voice and inner truths and beliefs--the awakening to the power of a spiritual perspective (perhaps
even a Christian rebirth): "No enemies" and "saved and sound." Though the length taken to deliver the message/story
is a bit over-protracted, it is effective and well-rendered with little or no fluff and appropriate nuance and theatrics.
Nice work. (36.5/40)

2. "Faiths Window" (5:20) with industrial horn humming in the background a dirty-distorted electric guitar's two-chord
strum repeats itself, occasionally moving between subtly different chords as Rylee McDonald sing/talks over the top,
turning into singing as the rest of the band's sound cascades into the mix. It's heavy but it's symphonic with the layers
of instruments easy to distinguish from each other. In the fourth minute the lyrics are delivered through growl-
screams before the McDonald family choir takes over. A metal instrumental passage takes over with searing electric
guitar, etc. but then Kristen emerges as the lead vocalist, taking us to the song's (rather sudden) end. (8.875/10)

3. "Patience" (4:53) a normal rock sound palette over which Rylee's single male voice leads the way gradually turns
heavy metal with the chorus, playing out as such into the final fadeout of electronic keyboards. A solid song but there
is nothing very new or innovative here. (8.75/10)

4. "Past Life Parable" (5:03) more solid heavy prog steering toward the more sophisticated hair band sounds and
music of the 1970s and 1980s, the big difference here is the use of djenty guitar chords and some more-modern
sounds as well as an admirable level of sophistication in the construct/composition. (8.875/10)

5. "Gravity I" (2:35) nice Spanish acoustic guitar play surrounded by proggy drum 'n' bass and textural synth washes
and other keyboard and, eventually, electric guitar effects. Impressive drum play toward the end--just before the
transition/bridge to "Gravity II." (4.625/5)

6. "Gravity II" (4:49) bleeding over from the previous "introductory" song, Rylee's voice in the lead position is
backed/doubled by Kristen. Nice use of organ bass pedals and harpsichord sound in the third minute, but then we are
quickly back into the metal, even djenty music long before the minute's end. I really like the guitar djent-play in this
section (as well as the more subdued vocal performance), but then we shift back into hyperdrive with the machine gun
bass pedal play for a few bars before cutting out for a near-a cappella passage, but then we nearly as quickly and
suddenly find ourselves back in the fray of machine gun beats and rapid-fire beat-down low end guitar chords. Still, I
like and respect it overall. (9/10)

7. "Animals" (5:34) Rylee's single male voice is singing while only accompanied by lone acoustic guitar picking. After
one time through a round of the verse and chorus the keys, bass pedals, and stark drum play join in the now split (R &
L) two-acoustic guitar picking foundation. I wish I could pick out who Rylee's voice reminds me of: it's definitely one of
STYX's lead vocalists: either Tommy Shaw or Dennis DeYoung. The McDonald family choir is cited for this song but
their role is, sadly, rather quiet, minor. Still, this is a pretty cool song--one that only lacks for seriously brainworm
melodies. (9.125/10)

Total Time 47:17

The McDonald family's sound and style cannot help but be compared to the bands mentioned above--especially THE
REASONING and early PURE REASON REVOLUTION but also bands like RUSH, STYX, INTROITUS and MEER. From its Led
Zeppelin inspiration and Rush fueling and modeling, the band seems to have come into its own: into something that
sounds like . . . but is really their own thing--which is really nice.

A-/five stars; though this kind of Classic Rock and sophisticated 80s Metal blend of prog is not really among my high
preferences, I do appreciate the creative and complex song structures built here as well as the wonderful vocal work
rendered by the collective members of the McDonald family (really, Rylee and Kristen).

OCTOBRE Octobre (Crossover Prog, 1973)

Wed, 16 Sep 2026 06:43:19 EST

Review by Neuroprog — Octobre is one of the first progressive rock albums from Quebec, released in 1973. The wonderful compositions on this
album allow Pierre Flynn to showcase his full talent. He is truly one of Quebec's finest singers, a real hidden gem. Overall,
the songs are built around powerful and catchy riffs. This is therefore not the most progressive album out there: it does
not particularly seek to push musical boundaries or necessarily build toward epic moments. It is instead one of the great
Quebec rock albums, with clear influences from the progressive rock movement of the time. It was only after this album
that the band would go on to develop and complicate its compositions further. It is unfortunate that this excellent album
and band are not nearly as well known as Harmonium, Robert Charlebois, Beau Dommage, Offenbach, Paul Pich]]>�others.

More specifically, the album features a lot of changes in rhythm despite containing only eight tracks and running for less
than 30 minutes. We go from songs like Si on partait, a more straightforward rock song with a frantic pace, to much more
nuanced and slower pieces featuring melancholic lyrics sung beautifully by Pierre Flynn. Flynn also shines on several
tracks with his expressive organ and piano solos.

To fully appreciate this album, it is essential to understand French, and especially "joual", as well as the Quebec specific
references of the period. Dans ma ville is a perfect example of a song built around two completely different tempos. You
can feel the musical crescendo throughout the verses before everything comes back down for a gentle chorus, conveying
the feelings of anger and nostalgia that run through the song. This combination of emotion and rhythm is present
throughout the album, reinforcing the power of Flynn's vocals.

The closing track, La maudite machine, is an anthem in which the importance of the lyrics takes precedence over the
melody. Strangely enough, it is the best-known song on the album, although it is not necessarily the most musically
interesting one.

4/5

ED O'BRIEN Blue Morpho (Crossover Prog, 2026)

Wed, 16 Sep 2026 05:59:22 EST

Review by BrufordFreak — One of Radiohead's founding guitarists (and still member) Ed O'Brien releases his second studio album as a solo artist.
I don't know any of the guest musician/collaborators but you can bet that Ed had his pick of the cr'me de la cr'me!

1. "Incantations" (7:41) a single repeating acoustic guitar arpeggio provides the bed for 1:45 of Ed's folk singing. It
honestly sounds like something from an early Roy Harper album. Other instruments, hand percussives and
electronics, join in to move the music into territory previously traveled by the likes of DONOVAN and BJ'RK. Floating
background vocals sound like Bj'rk's Inuit Choir on the Vespero tours. At 5:40 the percussionist(s) are joined by
drums, electric bass, electric guitars, and keyboard atmospherics--which play out until slowly being faded out while
Dave Okumu's bass and Ed's reverberating guitar notes continue to the song's end. Cool song! (13.875/15)

2. "Blue Morpho" (6:18) another really cool atmospheric sonosphere created by guitars, wordless vocals, bass, synth
washes, and, this time, full symphony strings. It's quite lovely--even moving: chords and multiple melody lines floating,
flowing, shifting, morphing, and melding into one gorgeous textural feast. And the whole time I'm feel quite a little
debt owed (or homage given) to George Martin and The Beatles. (Think of songs like "Blackbird" and "I Am the Walrus"
as well as albums like Magical Mystery Tour.) Brilliant and beautiful! (9.75/10)

3. "Sweet Spot" (4:10) double lines of picked acoustic guitar chords woven into one though coming from both sides of
the stage starts out this beautiful, atmospheric and kind of eerie (like GRAVENHURST) music over/within which Ed
sings both lead and backing vocals. I like the way the orchestra strings slowly move to the fore as Ed's lead voice sinks
into the instrumental mix. Eventually, the strings (and, I'll assume, keyboard electronics) end up alone, finishing the
song after everybody/everything else has left. Not as memorable as the previous songs but rewarded for the creative
sound and structural tactics. (9/10)

4. "Teachers" (5:18) a funky bass 'n' drum pattern is surrounded and permeated by eerie atmospherics. Ed's heavily-
treated ghost-voice enters toward the end of the first minute, singing in a pleasant monotone for a minute or so but
then it leaves, whereupon the bass, drums, guitars, and synths all seem to spread out into loose, adventurous swaths
away from but still anchored in the main theme. The final minute sees the vocal choir sing, "open wide" before the
instruments all stop or fade away, leaving only weird electronic noises to close out the song. (8.875/10)

5. "Solfeggio" (2:36) guitar/electronic harpsichord chord perpetuated with sustain and arpeggiation open this before
more layers of voice-originating atmospherics enter and steer the with an eerie yet unthreatening kind of melody line,
repeated over and over before signing off with a final lower-register three-note sequence, all the while the glitchy
electronica effects are increasingly present, even rising to a driver's position, like something from a SyFy Continuum
soundtrack experience (think Au4's "Everyone Is Everyone [and Everything Is Everything]"). More genius song/sound
making. (4.4375/5)

6. "Thin Places" (2:19) flute, wordless voice, synthetics all woven together to create a kind of dream-like out-of-body
astral travel experience. (4.4375/5)

7. "Obrigado" (9:53) a very cool, almost jazz-lite rhythm track over/within which Ed & Co. deliver some pretty awesome
atmospherics (as well as vocals). The reverse-delay guitar effects for Ed's guitar solo in the seventh and eighth minutes
are only surpassed by the dreamy psychedelic soundscape floating and morphing beneath it (and, later, by the
amazing wordless vocal tracks raging in the background--which I think one must attribute to Clare Torey-inspired
Awsa Berstrom). Ed's ultra-cool voice reminds me of both George Harrison, Gadi Caplan, Donovan, and Harry Nilsson
as well as, you know, Radiohead. Really a cool, amazing, and powerful song. A pleasure to listen to every single time I
do. (19.5/20)

Total Time 38:15

It's weird how much/how often I hear core/key Radiohead sounds in Ed's music here. This leads me to feel strongly
how important and integral he was/is to the Radiohead sound--to their music.

A/five stars; a brilliant display of creative/innovative sound and song crafting that stands out as a masterpiece of
extrapolated future music (as if Ed's projecting himself into the 22nd Century or beyond--or even another dimension).
A modern musical masterpiece. Highly recommended. One of the best albums I've heard from 2026.

SAVATAGE The Wake of Magellan (Progressive Metal, 1998)

Wed, 16 Sep 2026 02:31:17 EST

Review by Hector Enrique — Although the Trans-Siberian Orchestra project was already well underway following the success of 1996's "Christmas
Eve & Other Stories", Jon Oliva and Savatage still had a lot to offer as a band. Thus, in 1997, the American band
released their tenth album, "The Wake of Magellan". A conceptual rock opera inspired by the reflections of an elderly
and solitary former sailor, H]]>�famous Portuguese explorer Ferdinand Magellan- whose story is intertwined with various contemporary events (the
1996 murder of Irish journalist Veronica Guerin for her investigations into drug trafficking, and the stowaways on the
freighter Maersk Dubai, whose dramatic fate also unfolded that year).

The sound of the sea in the instrumental and cinematic "The Ocean" and the festive, Broadway-esque track "Welcome"
set the stage for H]]>�power ballads like "Turns to Me" or "Morning Sun"-crowned by Al Pitrelli's superb and forceful guitar solos- to the
seething helplessness and the decision to end his life out at sea, channeled through corrosive, heavy riffs in the '80s-
style "Another Way" or the psychotic "Blackjack Guillotine" and "Paragons of Innocence," tracks that draw on influences
spanning a wide spectrum from hard rock to metal.

The atmosphere of mounting tension that pervades the album reaches its highest peaks in the progressive track "The
Wake of Magellan" -an epic that stands as the album's crowning jewel, built upon the wall of sound created by Johnny
Lee Middleton on bass, Jeff Plate on drums, and Oliva on piano, culminating in spirited polyphonic harmonies- and in
the stormy instrumental "The Storm," featuring another great solo by Pitrelli. And it is only in the theatrical and epic
"The Hourglass" that the conflicted character finally finds solace in redemption and a purpose for his life.

"The Wake of Magellan" is not only an ambitious rock opera but also one of Savatage's most conceptually rich works.

Very good.

3.5/4 stars

DATURA LODGE Datura Lodge (Heavy Prog, 2026)

Wed, 16 Sep 2026 02:11:53 EST

Review by higgins — There are debuts that sound like debuts, with that mixture of timidity and overreach so typical of someone still
searching for their place, and there are debuts that arrive already carrying the astonishing confidence of people
who've been playing together for half a lifetime without anyone quite noticing. Datura Lodge decidedly belongs to this
second lineage. And it's no coincidence: Nicky B and W. have known each other and played together since their teens,
something that comes through in every breath of this self-titled album, a chemistry that can't be improvised or bought
in any studio, however good it may be.

I listened to this record thanks to a promo copy the label was kind enough to send me, and I'm deeply grateful for it,
because Datura Lodge is one of those works you'd rather have stumbled upon yourself, tripping over it in a record
shop, and yet here we are, with the good fortune of having had it in hand ahead of time.

The New Jersey duo doesn't hide its sources, nor should it. There's a melodic streak that leads straight back to
Genesis, especially in those moments when the vocal reaches for the hook without giving up harmonic complexity.
And there's something else too, something of our own era: that way of organizing the chaos, of metering out the
tension and releasing it at exactly the right moment, which inevitably brings to mind a more restrained Steven Wilson,
or his band Porcupine Tree on the days it decides to smile.

Tracks like "Stone" or "Can" show that technique serves emotion rather than the other way around, with an
instrumental display (Adam Holzman is in there on keys, contributing a great deal) that never tips into gratuitous
showmanship. But it's in the fragility of "Hole" or the almost uncomfortable honesty of "Them" where Datura Lodge
reveals its true nature: an album that knows how to laugh at itself while talking about rootlessness, generational
disillusionment, and the strange task of staying human amid a full digital shipwreck.

Datura Lodge doesn't reinvent progressive rock, but it inhabits it with a naturalness and a joy of playing that are sorely
missed in so many current releases, more concerned with orthodoxy than with life.

YES The Yes Album (Symphonic Prog, 1971)

Tue, 15 Sep 2026 19:47:28 EST

Review by Fercandio46 — The affirmation often has a psychological value that operates at an unconscious level; it begins from the outside
and ends up taking hold internally. The Yes Album was a new beginning for many reasons: the first to feature Steve
Howe, the first in which the compositions of Anderson, Chris Squire, and soon Howe would acquire that classic
status and the first where rock, jazz, and a distinctive balance between acoustic and electric elements would find
their signature style and a home within the progressive universe.

There are many classic Yes lineups, and although the subsequent era might be considered the "classic of classics,"
the 1971 period is already worthy of that title. Gathering at Langley Farm, they recorded a handful of songs that
would become enduring favorites, not only for that lineup but for those that followed, and have been performed
live ever since.

I'm a fan of the Peter Banks era, but Steve Howe, while retaining that affinity for rock 'n' roll, jazz, and classical
music, brought a rhythm, a groove, and a fingering style, along with a cosmic dimension, that set the band apart
right from "Yours Is No Disgrace." The vocal harmonies, often bordering on a cappella, were just one of many
hallmarks that emerged with this album. The band also gained a warmth and an intimacy it hadn't possessed
before; tracks like "Yours Is No Disgrace" featured not only instrumental sections but also intimate moments that
made for a complete experience.

"Clap" is the first of many acoustic tracks by Steve Howe; composed of several sections, some with a pastoral, rustic
feel and others with a distinct rock-and-roll vibe, the version that made the final cut was recorded live at London's
Lyceum Theatre and would forever define one of the facets of this new Yes.

"Starship Trooper" must be one of the first tracks that made me fall in love with the band. Jon was gradually
reaching the peak of his expressive potential, conveying a genuine emotion that was reinforced by Chris Squire on
bass, Bill Bruford on drums, and, son, Steve Howe on guitar (who already seemed like a full-fledged member, even
though Peter Banks still appeared on the album cover!). There was a palpable sense of communion as they focused
on conveying their musical vision. Tony Kaye was solid, too, though he would later be succeeded by someone with
such a massive aura that it would elevate "Starship Trooper" to even greater heights. Once again, the vocal
harmonies and Jon's voice stood out... and just as the emotion reached its peak, "W]]>�kick in. Steve would start off solo, with the rest of the band gradually joining him, creating a soundscape that felt
like the prelude to a space voyage and the actual liftoff. And the first of many memorable riffs with an electrifying
personality.

The emotional momentum didn't let up, as a powerful new surge of feeling arrived with "I've Seen All Good People",
a track that is 100% Yes. The band always drew sustenance from both the technical/virtuosic side and the
spiritual/emotional one; neither works without the other, and it was their combination that gave birth to their best
songs and albums. The track is neatly divided into two parts: the acoustic first section, "Your Move", which carries
an almost Andean feel, and the rock-driven second half, "All Good People." The two work in tandem, creating the
song's magical contrast.

"A Venture" is an atypical and unusual track within the context of the ]]>�very interesting breaks and syncopated drum and guitar work from Howe and Bruford; towards the end, Chris's
bass and Tony Kaye's distinctly jazzy solo leave you wishing they would keep playing like that for even longer.
"Perpetual Change" is the final track, and Bill Bruford's presence is as notable as it is significant; the format, an
elaborate introduction leading into a fully developed song, set a precedent for what was to come. Hints of a country
feel followed by a jazz-inflected progression, along with the polyrhythms and counterpoint in the finale, exemplified
the band's high level of technical proficiency. Meanwhile, the vocal interplay between Jon and Chris offered a
different facet, helping to create an album that holds a unique place in history. There are many layers to consider:
while the band's subsequent work was undoubtedly more complex and elaborate, and is rightly regarded as some
of their best, this album possesses its own distinct value. It stands as an equally great record, not for the same
reasons as the later material, but for others; after all, as we have seen, Yes is a multi-dimensional band.

THE BARDIC DEPTHS Some Things Are Worth Remembering (Crossover Prog, 2026)

Tue, 15 Sep 2026 10:35:46 EST

Review by BrufordFreak — The Bardic Depths are back with Peter Jones contributing as a full member (one of my favorite collaborations that he's
done). This is their fourth studio album release of this decade.

1. "Islands" (8:37) excellent and fresh feeling music based on NeoProg sound palette and stylings. I really like the
construct, feel, and flow of this song though it does lag a bit in places. (18.333/20)

2. "Fallen Leaves" (3:03) GENESISian 12-string-with-organ and anachronistic melody lines open this as harmonized
vocal "doo-doo-doo" lines become woven within the instrumental weave. As this pattern continues--throughout the
entire song--I find myself rather surprised--and delighted. It's a really cool and fairly inventive (if ]]>�(8.875/10)

3. "Arribabok" (4:48) borrowing a lot from George Harrison/The Beatles' Indian-influenced soundscapes (which were
later further developed by the likes of Daevid Allen with his GONG and other projects as well as Steve Hillage and even
Peter Gabriel and David Torn). I love Gareth Gole's Torn-Hillage-like guitar tone and play in the third minute. The vocal
and congestion and crescendo at the end of the third minute reminds me of both Peter Gabriel's world music and Karl
Jenkins' ADIEMUS music. Nice sax play by Peter in the fourth minute and then a nice d]]>�original palette in the final minute. (9.125/10)

4. "October Sun" (8:12) More excellent vocal-centric NeoProg music that reminds me of the fine fare of both FISH ON
FRIDAY and TONY PATTERSON (as well as Dave Longdon-era BIG BIG TRAIN). Though the song construct and
instrumental play is rather simple and sedate, the bass and vocal work is quite excellent. I understand how solid,
comforting "bedding" of easy-to-digest music can serve as an excellent foundation for the exploration/expression of
more sincere ideas above it--and this does happen in this song's second half--and I understand the talent and skill it
takes to render such a "bedding"--so I am not as critical of this habit or tendency as I used to be (always looking for the
sophistication and instrumental virtuosity in each song). I actually really appreciate the way the band has constructed
and rendered this song. (17.75/20)

5. "From Empty Trees" (4:41) an instrumental opening that sounds like something Tony Banks would have done for
Genesis (or himself?) back in the breakout period of the band's popularity. Gareth's guitar work in his lead time during
the third minute is okay but nothing very innovative--and the ascending four-chord motif that follows feels so much
like Tom Johnson's "Uncertain Smile" ending jam from his 1983 The The album, Soul Mining (with that amazing piano
solo from Jools Holland). (8.75/10)

6. "A View" (6:18) a gorgeous NeoGenesis weave of arpeggiating keyboard and acoustic and electric guitars with solid
low end support from well-coordinated bass and drums also sees some excellent synth strings orchestra and old
Mellotron threads in the weave as Peter sings with his usual folk-bard-like approach. Nice weave of multiple other
guitar and keyboard lines topped off by a nice heavily-reverbed sax solo from Peter in the fourth minute which is then
followed by a fine electric guitar solo. Peter's voice and vocal styling is so classic, so powerful, so iconic. It's no wonder
he's been the vocalist of so many 21st Century NeoProg classics. (8.875/10)

7. "Harder to See" (4:09) a little more sophistication, syncopation, and frequent key changing makes this an interesting
tune--especially when attending to Peter's vocal (he's got to be spot on for this one!) Once the pattern of the four
chord motif is established (almost Van Morrison "Moondance"-like), the music becomes more familiar and, thus,
comfortable. The chorus and follow-up d]]>�hope for. (8.875/10)

8. "Rewind" (9:21) this one opens up as another acoustic guitar- and piano-dominated weave that incorporates a four-
way vocal approach, lead and harmonies, reminding me of MOON SAFARI as well as bands like Crosby, Stills, Nash &
Young or even Wobbler and The Beach Boys. Nice instrumental work in the instrumental section from the third
minute to the fifth and then again after 4:40 when things switch to a more ambient/atmospheric palette. (Who's
playing the flutes?) This is very psychedelic in its pastoral dream-like feel--very similar to some of Steve Hackett's best
stuff ("Cinema Show," Wind and Wuthering, and his early solo albums). Interesting that the the rest of the song (and
album) plays out with this atmospheric instrumental weave--five minutes of it (not unlike that odd prolonged ending
to "Dancing with the Moonlight Knight")! Luckily, it's really nice! The boys are obviously serious students of the
masterpieces of prog's Golden Age. (18.5/20)

Total Time 49:09

The band's NeoProg music has continued to develop, progressing into more sophisticated and original realms of prog-
-that remind me of both Peter Gabriel and Fish On Fridays. With any lineup that includes prog-savant Peter Jones one
cannot help but have high expectations. The problem comes with the frequent disappointments that come with the
feelings of "underdeveloped," "not fully-realized" or "falling short" of possible potentialities.

B+/4.5 stars; an excellent album of creative, top-notch NeoProg from some of England's most reverential and
proficient veterans. Highly recommended--especially if you like the NeoProg sub-genre where it might be considered
an essential masterpiece.

KAMELOT Dark Asylum (Progressive Metal, 2026)

Tue, 15 Sep 2026 09:05:45 EST

Review by Gatot — Hi everyone,.... I'm back after I realize now that my last visit to this site was 2/7/2017 3:31:05 AM EST - 9 years plus ago!
Hope everyone is OK and keep on proggin'!

I happened to know this new Kamelot album once my old buddy informed me couple of weeks ago and since then I
keep playing it and I don't know why I repeat it after I complete the whole tracks here. Yes, I do enjoy the music very
much and I have had no idea that Roy Khan left the band and now the lead vocalist is new (maybe couple of years
already). Honestly, I cannot differentiate his vocal quality and I tend to say it's very close to Roy Khan.

As for this album, I enjoy the opening track that flows nicely to the next one Ashen World (04:13). I enjoy this track and
it's actually the main reason I repeat the album again as I want to listen this again. For some reason the flow to the
next track Dark Asylum (04:39) happens nicely especially when it reaches Sanctuary (04:25).

I have been a great fan of Kamelot since I first listened to their "Karma" album and I always love their music that
blends power metal with great melody.

I have to admit, what really grabs me about Kamelot's Dark Asylum is that it completely demands a full spin from start to finish! Right now, I am blasting this beast while hammering away on my laptop, totally locked in from the opening blast right through to "Sanctuary".

Right out of the gate, it leans heavy on massive, soaring melodies. Sure, the songwriting follows that classic, direct-in-your-face power metal formula, but man, does it fire you up! It injects pure adrenaline straight into the veins and sends my work energy through the roof. And hell yeah?those vicious growls on both "Ashen World" and "Sanctuary" add such a killer, ferocious bite that makes the hair on your neck stand up!

Now "One Last Masquerade" kicks in... WOW!!! Absolutely crushing energy, totally on fire! 🤘🔥

Overall, this album is essential and I have been spinning it its entirety more than 10 times already by now. For those of
you who love power metal, do not skip this album.

Peace on earth and mercy mild!

TOM PENAGUIN Tom Penaguin II (Canterbury Scene, 2026)

Tue, 15 Sep 2026 06:35:53 EST

Review by BrufordFreak — On his Bandcamp page's "liner notes" Tom lists his "Gear used":

Fender Rhodes Mk2 (1, 2, 3, 6)
Hohner Pianet C (1, 3, 6)
Hohner Cembalet I (1, 3, 6)
Columbia Elepian (1)
Hammond L122 (1, 3, 4, 5, 6)
Roland SH2000 (1, 3, 6)
SeagullS12 (1, 3, 6)
Gibson SG (1, 6)
Gibson Les Paul Goldtop (1, 4)
Jacobacci LJ612 double neck (1, 2, 3, 6)
Fender Jazzbass
Yamaha Rydeen drumkit

1. "Didier Dandelion in the Year of the Great Winds" (13:24) sophisticated, more serious Canterbury Style music of the
NATIONAL HEALTH sort. A lot of displaying of some mighty fine drumming beneath/within a multi-keyboard vamp.
There is a lot of very immersive melodic music here. The multi-instrumentalist seems hell-bent on proving to the world
his skills and talents on guitars and keyboards, too. (He is pretty good!) All in all, this is pretty good if sounding a bit
like an extension of the 1970s Phil Miller-Dave Stewart-David Sinclair expressions of sophisticated Canterbury Jazz
Fusion. The music of this song doesn't always propel--doesn't always feel as if it's moving forward (which was, when I
think about it, one of the frequent failings/flaws of the Canterbury artist's music)--but it is an excellent rendering of
that era's sound and style. And don't miss the nod to TONY BANKS/Genesis in the "Mad Man Moon" reference in the
ninth and tenth minutes as well as the excellent Phil Miller guitar work--which later turns into near-ALLAN
HOLDWORTH stuff!--as well as Tom's great drumming. (27.5/30)

2. "Mandatory Intermission" (3:47) a piece that feels like a true nod to the most unique genius of the Jazz-Rock Fusion
movement: Allan Holdsworth. Even when Tom chooses to settle back into a fuzzy electric guitar over gentle-yet-
erudite J-R F band support the lead and music carries with it a kind of reverent "history" of the many stages of growth
of the great jazz guitarist: from Bradbury to 'Igginbottom to Nucleus to The Soft Machine up unto the Tempest Jean-
Luc Ponty era. Nice homage! (9/10)

3. "The Ornamental Hermit Suite, 1st Movement" (5:21) a Canterbury-inspired weave of bass, drums, electric piano,
and guitar that shifts in tempo and dominant (most forward) instrument/sounds between several motifs, including
one that introduces a bunch of different keyboard and guitar sounds (including 12-string guitar) while allowing electric
bass and drums to remain fairly consistent. I am very much reminded of ANTHONY PHILLIPS and even MIKE
RUTHERFORD with a lot of the soundscapes, melodies, and thematic shifts. There's even a little Mike Oldfield in some
of the nostalgic melodies and instrumental sound choices, but when Maureen Peircy's "The Northettes'" vocals enter
at 4:21 I'm totally taken off guard. Part of me is offended that someone would so blatantly "lift", copy, or replicate such
a sacred element of the Canterbury tradition. At the same time, I so welcome and enjoy the brief exposures to the
sounds and stylings of these old guys. (9/10)

4. "The Ornamental Hermit Suite, 2nd Movement" (5:35) more Canterbury homage and comfort food. It's as if AI were
asked to write some new Dave Stewart (Egg, Khan, Hatfield & The North, National Health) music. It's just too perfect,
too much like a re-animation of the old guys: even the production values feel as if I'm listening to some newly-found
tapes from 1975 (probably found under the floorboards of the old seaside Wyatt cottage in Lydden [Wellington
House]--or better yet--found inside a hash cache inside the walls of Daevid Allen's Bananamoon Observatory in Dei]]>�[Majorca]). I love it while at the same time find myself squirming uncomfortably at the "authentic" feel and sound of
the music. I absolutely LOVE hearing more of the peak Canterbury style sound palette--especially when it is rendered
so faithfully and so lovingly as this, but more: this is just a great piece of music no matter who did it (or when it was
done). (9.25/10)

5. "The Ornamental Hermit Suite, 3rd Movement" (6:18) this one's a little different: harkening back to some of the
more sophisticated, mathematical "thought experiments" that Dave Stewart might have had back in the 1970s. There
is a feeling of aloneness, even reclusiveness to this piece--even with the participation of the ghosts of Mont Campbell
and Clive Brooks (or Richard Sinclair and Robert Wyatt) playing bass and drums, respectively. Even the classical music-
mirroring three-part construction harkens back to the work and style of Mont Campbell's EGG trio. Though this
replicates some of the early Canterbury music that I am not as attached to as others, I do appreciate its faithful
replication of the sound and spirit of one of my all-time favorite eras of music. (8.875/10)

6. "The Ornamental Hermit Suite, 4th Movement" (11:50) more modern replication of the sounds and spirit of the
uniquely "Canterbury" style geniuses of the 1970s composed, performed, and rendered with truly loving detail. The
organ chordplay in the movement's opening minute so remind me of the genius mathematical musings of the great
Dave Stewart that I almost tear up. After the 90-second intro enter piano, drums, bass, and electric guitar, gearing up
into a real rip-roarer of woven tongues of flame. In the fourth minute the quartet takes a sharp turn down one of the
country roads as if on a long descent from the high ground down toward the sea and its beaches and waves--where
everything smooths out and soothes the soul. Here Tom chooses to introduce the lead guitar: and lo! and behold! It's
Mike Oldfield (or, at least, the ghost-spirit of). I love the infusion in this piece of riffs and stylings from other realms of
1970s prog: Mike Oldfield's guitar in the sixth and seventh minutes, Tony Banks' electric piano sound and stylings,
even some sound and chord play that is a nod to Jean-Luc Ponty (in the eighth minute). There is definitely genius (as
well as infinite reverence) in this man's compulsion to create (and re-create) music of the artists and magical eras gone
by. I find it hard to find fault with this amazing rendering. It even ends with the sound of the tolling of the church bells
of some ancient gothic church as if to re-affirm the timeless and universal place that these musics have in our lives.
(23/25)

Total time: 45:51

A-/five stars; a minor masterpiece of lovingly-replicated Canterbury Style music. If you love the era, the unique sound
and style of those mythical Rainbow artists, you will find yourself melting to the music on this album. Highly
recommended.

AETHER III (Post Rock/Math rock, 2026)

Tue, 15 Sep 2026 05:31:21 EST

Review by BrufordFreak — The Milanese impressionistic prog/J-R Fusion band continues to grow and expand--this time in even more
unpredictable directions!

1. "Oort Cloud" (6:21) etheric/ambient atmospherics open this one--a long, slow development as Fender Rhodes,
heavily-distorted guitar, heavy bass notes and chords, and synthesized "bassoons," "flutes," and other atmospheric
noises slowly populate and fill the sound scape. Amazing that this flute is not real (or else it would be credited, right?)
Nice diversion but not quite what I was expecting and/or hoping for from this band's third album. (8.667/10)

2. "Vogon" (4:51) smooth Jazz-Rock Fusion that is more in the realm of what I was expecting--add the bonus of an
appearance of the great theatric cabaret Jazz artist Claudio Milano to sing/recite in his Demetrio Stratos way the lyrics
to a made up language that the Aether gang created themselves (inspired by Douglas Adams' Hitchiker's Guide to the
Universe). I love the music! It's quite like that of one of my favorite 21st Century bands, UNAKA PRONG, from North
Carolina. Much more sophisticated than the gentle/soothing-yet-dominant Fender Rhodes would reveal. Very happy-
go-lucky and up-lifting. (9.25/10)

3. "Cinq Teintes, Quatre Cadres" (8:42) ambient electric guitar picking in a sonicsphere of lush reverb is thickened by
the joinder of layers of keys and bass before orchestral drums and electronic keyboard and lead guitar enter to jazzify
the music as if Andy Summers and Robert Fripp were together again playing with an electronica keyboard wiz. In the
fifth minute things quite down as Andrea Ferrari's guitar work begins to lead the band into a kind of SONAR-scape of
Minimalist Math Rock. At 5:20 then we move into a more spacious scape in which Matteo's tom-tom pattern provides
the foundational movement for a jazzy Fender Rhodes solo and, later, a weave with Andrea Grumelli's heavily-treated
bass and Ferrari's distorted lead guitar in the mix. The heavily-reverbed song ends with the instruments slowly
dismantling and slowing down the weave, reminding me a lot of 4 AD's 1980s instrumental band DIF JUZ. Nice piece.
(18/20)

4. "La Mélancolie Du Petit Prince" (4:37) over/within Andrea Serino's classical piano ruminations the other
instrumentalists add their tracks of untreated fretless bass, computer glitch sounds, and natural and unnatural
percussion sounds. It's as if Eric Satie was caught in a sombre-yet-romantic mood playing a piano in an empty French
chateau while a group of construction workers and electricians were doing restoration work in and just outside other
parts of the piano's salon or grand ballroom. (I can't stop picturing Chantilly.) Or one could compare this to Ruyichi
Sakamoto's 21st Century (or life-long) fascination with sound recording glitches--the work he did with Christian
Fennesz and/or Alva Noto. Pretty and suitably dystopian for our times. (9/10)

5. "Panta Rei" (8:00) more (a different kind of) piano-founded sound exploration: it's not always harmonically pleasing,
always on the edge of being melodic in familiar Western ways, on the edge of being satisfying while never really hitting
the "right" notes. It's reminiscent of 1970s exploratory jazz (think Keith Jarrett) and also Smooth Jazz (Ahmad Jamal) yet
also totally pleasing--at least, until the fifth minute when Serino and Grumelli lock into a five-note, three-chord
progression to support Ferrari's rock-jazz guitar solo (that reminds me of John Abercrombie, Sonny Sharrock, Larry
Coryell, and Fred Frith channeling their most aggressive Jimi Hendrix and Ornette Coleman energies). The song ends
with Serino's piano, all alone, gently tucking us into bed. Interesting--to say the least. I really like a lot of it, though I've
never been a serious fan of the free and loose distorted guitar shredding that Ferrari uses here. (13.5/15)

6. "Swerve" (10:42) thought this song opens with simple, straightforward (almost child-like) Fender Rhodes play, other
tracks of synthesizer and guitars soon join in, taking the music into more serious realms. Soon Ferrari seems to be
relying predominantly on a heavily-treated (reverb) guitar sound--one that reminds me of Eef Albers on Focus Con
Proby's "Wingless" and "Orion" as well as the "infinity" guitars of Michael Brook and Dif Juz. By the end of the fourth
minute the song has become a serious Rock-infused Jazz of the 1970s variety, even incorporating time signature slow
downs and speed ups, swaying shifts into more stereotypic Rock stylistics while and before re-incorporating more
Jazz-expressive sounds, lines, and motifs. Matteo Ravelli's excellent drumming plays hugely throughout this one as
does Ferrari's lead guitar while Grumelli and Serino's work provides more of the foundational work to keep this one
on the rails. The final motif (presented in slow down mode) sees the blending and turn-taking of all four instruments
before Ferrari's last notes sound, decay, and slowly fade away. (18/20)

Total Time 43:13

As a blend of old and new this album stands out as an excellent bridge--one that feels experimental and exploratory
while, as alluded to, also firmly expressive, even honorific, of old "classics." This alone makes it a remarkable album
but also the fact of the use of totally fresh and original compositions to do so makes it doubly so. Though it's hard for
me to say that I like or love this music, I do find it fascinating and I do, very much, appreciate the labor and creativity
that went into creating it. This has been a fun and enjoyable album to take my time getting to know but I don't know
how much I'll be listening to it once the year passes.

B+/4.5 stars; a near-masterpiece of genre- and stylistic-blending Jazz Fusion. The band continues to explore and
progress and I commend them and urge them to continue doing so.

DEEP PURPLE Turning to Crime (Proto-Prog, 2021)

Mon, 14 Sep 2026 16:00:46 EST

Review by ZowieZiggy — Well, well, well !!!

I am not very keen of covers album. Even not with Pin Up from whom you might know.
But this one was about very well known songs from famous bands of the great sixties...
Of course, there are songs from from great bands as well, but their rendition can NOT enthusisast my ears.

I have been along with Purple since December 70 (I purchased "Black Night'' bw ''Speed King" back then).
Or they have been along with me, up to you.

Anyway, this album sounds really poor to me. Not ANY song is catchy to my ears.
A whole bunch of "press next" ones. Untill the last one.

I am quite reluctant to rate a Purple album with the minimum rating. So, I will "upgrade" this one with 2**.
Sorry guys.

PROTEST THE HERO Palimpsest (Tech/Extreme Prog Metal, 2020)

Mon, 14 Sep 2026 04:31:33 EST

Review by arcane-beautiful — A different step in direction for the band after a few line up changes and a period of inactivity, the band came
back with a completely different vibe, but with familiar technical speeds and playing. The attempt at moving into
a more progressive sound that they tried on Scruillous is more fully felt on this album, with vocalist Rody Walker
almost sounding like a different singer, with a cleaner and less punky sound to his voice. At times his range does
show some weakness, but the overall passion on this album from him and the rest of the band is very potent.
Lyrically being a concept album based on American exceptionalism, it is very well crafted. The track I'd
recommend is From The Sky.

PROTEST THE HERO Scurrilous (Tech/Extreme Prog Metal, 2011)

Mon, 14 Sep 2026 03:57:44 EST

Review by arcane-beautiful — Overall, I don't think these guys have a bad album, and while this is my least favourite of them, there are a lot of
great moments and tracks on this one. Overall there is a different feel to this album, as if the band are moving
away from their caustic and more mathcore roots, and transitioning into a more progressive metal sound.
Lyrically the album feels very different too, being less conceptual and having more personal moments. But the
musicianship is fantastic, it's just a slight variation in vibes and a sound from the band I prefer dampened
slightly. The track I'd recommend is C'est La Vie.

LAST KNIGHT The Lords of Wisdom Season 1 Episode I: Reconquista Asturias (Crossover Prog, 2026)

Mon, 14 Sep 2026 01:53:38 EST

Review by alainPP — Last Knight is a musical project established in 1997 by Jose Medina, featuring musicians such as Marc Atkinson
(Riversea, Moon Halo), Mariano Gardella, Deibys Artigas, Rafael Pacha (guitars, also with The Samurai of Prog),
and Troy Donockley (Nightwish).

"The Grand Overture" is a cinematic musical narrative blending classical, folk, and medieval elements?a
monumental opening piece with interwoven textures. "In the Middle Ages" navigates between Alan Parsons and
the Beatles, featuring a captivating melody sung theatrically by Mariano, accompanied by Sacha's poignant,
arpeggiated guitar work that evokes a harsh era. "The Kingdom of Asturias" is an acoustic instrumental reflecting
rugged times, with a recorder ushering the listener into a Christian kingdom on the defensive. "A War of Eight
Centuries" is an anthemic, chilling interlude with Marc narrating eight centuries of conflict. "Cordoba" features
Sacha's arpeggios?recalling a time when beauty and art contended with war?and vibrant Andalusian guitar.
On "War," Deibys sings a tune reminiscent of Rainbow, while vintage keyboards evoke Ayreon; Nelson delivers
an 80s-style guitar solo that captures the chaos. "Chivalry Tales" is an interlude driven by percussive bass and
Hammond organ, with piano flourishes that skip along like knights in battle. "A Green Field of Memories" is a
somber ballad, a medieval-style piece humming with acoustic notes.

"The Kingdom of Leon" serves as a symphonic instrumental sequel?a sweeping epic in the vein of The Samurai
of Prog and Alan Parsons. It features spellbinding keyboards, Troy's bagpipes, violins, and various flutes that
conjure up the world of *Lord of the Rings*, elves, and imagined medieval tales. The organ engages in a playful
duel with the guitar, while the drums drive the entertaining progressive soundscape; a notable mid-song break
sees the bass aggressively challenge the organ in a moment that feels simultaneously Floyd-esque, Western, and
cinematic. Note the finale, where the Andalusian influence revisits the "Spaghetti Western" atmosphere to create
something truly divine. "Flames Would Rise"?referencing the flames meant for heretics?features a scorching
vocal performance that sends shivers down the spine. "Across the Mountains" serves as an interlude that
traverses the Pyrenees on the wings of a flute melody. "The Kingdom of Galicia" offers a second epic tableau,
blending folk, jazz, and world music vibes; it features a hushed, atmospheric sound reminiscent of Unitopia,
balanced by Oldfield-esque Celtic moods and hurdy-gurdy and mandolin played by Sacha. There is room for
furious heavy guitar work and a cinematic melting pot narrated by Mariano, acting as the resident bard.
Mellotron adds a sentimental medieval touch, leading into a distinctive outro. "Pamplona" is a baroque
harpsichord interlude that captures an elegiac splendor. "The Backyard" is a pastoral sketch for flute and
acoustic guitar, paving the way for a cinematic finale. Finally, "Hymn for Asturias" features Deibys singing of the
cycle's end?a prayerful lament that nonetheless exudes hope, underscored by Troy's flute.

Last Knight?a tale of medieval glory; rest assured, this first saga will captivate you, marking the beginning of a
trilogy. It is a concept of cathedral-like proportions, blending symphonic prog with exhilarating cinematic folk. A
perfect example of the genre.

PHIDEAUX AutoMoto Animus (Crossover Prog, 2026)

Mon, 14 Sep 2026 01:41:51 EST

Review by alainPP — Side 1 opens with "Do What U Will," a surprising electro-gothic track?echoes of Ultravox with vocals reminiscent
of Alice Cooper. A welcome return to contemporary rock after a six-year hiatus. "Hey Humanity" returns to a
signature sound, with faint traces of Bowie and the Beatles. Colorful keyboards meet a Led Zeppelin-esque vibe
?a Xavier trademark?alongside a desire to soar on symphonic elements reminiscent of ELO and sparkling
guitar work. A vibrant finale featuring Queen-style guitar?magnificent, yet all too brief. "Driving To Destruction"
features percussive piano ]]>�XTC and ELO, backing vocals, Supertramp-style piano, Rogue Male-style guitar, and distinctive vocal phrasing.
The dynamic lyrics hint at a crash far more serious than it initially appears. "Stay With Me" follows, with vocals
melting into a haughty melody amidst a blend of synth pads and keyboards. The lyrics suggest a call to action?
rolling up one's sleeves to save Gaia?delivered with a Beatles-esque, crossover sound. Then comes "Charlie
Knew," echoing the great Lou Reed; an epic, operatic track with symphonic orchestration. It offers a somber
reflection on the times as they descend into darkness, featuring a vintage Bowie vibe and a soaring, lyrical
passage that channels Cooper's madness and ELO's hope?a concentrated dose of prog.

Side B opens with "Siren In The Storm," an acoustic Western-style ballad played by Kaitlin?a song of being lost
amidst the waves. Captivating, narrative vocals tell the story of a siren meant to save the hero; Savannah's
moving voice evokes *The Dark Side of the Moon* before a melancholic solo launches "Enigmatic Terminus."
That track takes flight with sharp violins, languid vocals, and radiant, U2-style electric guitar. It is a dark, metallic
tale of an approaching end, driven by a linear, martial rhythm. "Legend of Mary Jo" is a charismatic track?an
old-fashioned tune with an epic, old-world duration. It tells a sad, sordid tale of love in which the heroine stays
with her unfaithful husband?a parable for our own disheartened society. Originally written early in his career
while playing with The Sun Machine, it is a conceptual piece?reminiscent of the Beatles and Alice Cooper?
featuring classical instruments and trumpets. It has a jovial, vibrant feel?I'm sticking with the Sparks-like synth
comparison?alongside a colorful, Supertramp-esque saxophone drift and a soaring, Pink Floyd-style
atmosphere; a gravelly vocal cuts through a choppy, Yes-style riff and its rock-oriented variations. It boasts a
distinctive sound and a solemn finale that evokes the woman's incredible destiny. A track worthy of the prog
giants, featuring a blissful, final Mellotron flourish.

Phideaux returns, taking his time?true to his fundamental approach. It is an epic journey best experienced in
the car?a blend of psychedelic folk and progressive rock that reveals itself to be far more complex and intricate
than it initially seems.

T.A.P Paradigms II (Eclectic Prog, 2026)

Mon, 14 Sep 2026 01:23:18 EST

Review by Prog Dog — This is a mellow, lush-sounding melodic rock instrumental album, with flashes of fusion and ambient textures
around the edges. The band deliberately went for a distinctly "human" sound, avoiding excessive editing and
resisting the urge to snap everything onto an electronic grid. In an age of compulsive digital perfection, there's
something refreshing about leaving a little room for spontaneity?and even imperfection.

Overall, this is a meditative album, ideally suited to enjoying while orbiting the Earth on a space station. There are a
few moments with a jazz-fusion feel, including a track featuring electric violin, but for the most part the music
inhabits its own spacious, melodic world. At times I was reminded of the solo work of Steve Howe and Steve
Hackett, along with Robert Fripp, Pink Floyd, and even Pattern-Seeking Animals. But the further I got into Paradigms
2, the less useful those comparisons became. TAP seem to be defining a sound of their own.

It's a little less edgy than their first album, Paradigms, but Paradigms 2 is more expansive and refined, with a
broader and more varied sonic palette. It feels like a natural progression from TAP's debut, and a welcome addition
to the growing body of work from this geographically separated partnership of musicians working across the USA,
Canada, and England.

The musicians (including several guests) are a treat throughout the album, bringing a diverse range of textures to
the music. UK guitarist Suzi James (Fearful Symmetry) delivers flowing solos?sometimes with an Holdsworth-
inspired flavour?along with some suitably proggy slide guitar. Texas-based Mark Cook adds the distinctive sound
of the Warr guitar, mostly played fretless in the bass role. Together, they provide Paradigms 2 with plenty of
instrumental colour without overwhelming its relaxed, atmospheric character.

Key to the album's framework and beginnings, though, were the keyboard-based compositions Michael Jobborn
sent out to the rest of the band. In a somewhat backwards fashion, the musicians took the pieces from there,
massaging and developing them while gradually adding their own layers and contributions. This includes the
competent and detailed drum work of Bill Bachman?whose grandfather, incidentally, was involved in the invention
of the 33⅓ RPM LP.

A couple of the tracks take a while to fully find themselves, including "A Hole in the Ground," although it has
become one of my favourites on the album. It also features some surprisingly gentle vocals?a first for the band,
although apparently not something they intend to make a regular feature.

My one reservation is that Paradigms II could perhaps use a little more grit and sandpapery roughness to stretch its
dynamics just a touch further. Whether that comes down to the compositions, recording, mixing, mastering, or
some combination of all four, I'm not sure. I certainly can't fault the band for the achievement of putting this
together largely as a home-studio project, if I have my facts straight. There's plenty here to admire. "4th
Dimensional Wave" and the guitar solo work in "Wishful Solitude" provide a glimpse of what this kind of edge brings
to the overall sound, adding even more texture and contrast to this spacious landscape.

I can also attest that this album is a grower; the more I listened, the more it revealed itself.

Overall: Paradigms II is a thoughtful, atmospheric progression from TAP's debut?an album that rewards relaxed
listening and, preferably, a little distance out in Earth's orbit.

4.25 out of 5 dog bones- or 4 out of 5 stars for the progarchives system.

ROXY MUSIC Roxy Music (Crossover Prog, 1972)

Sun, 13 Sep 2026 17:25:37 EST

Review by Fercandio46 — There are classic bands whose lineups become fixed in time, beyond any later variations, as the very ones through
which we first discovered them; these are the lineups that produced a handful of classic albums, creating the
impression (or illusion) that they could do no wrong. This happened with the Peter Gabriel-era Genesis in the 70s,
with Yes during the time Bruford and Wakeman were in the band, and in many other cases, given that the decade
was so rich and vast it seemed endless, and it happened with Roxy Music. However, what set Roxy Music apart was
that, alongside Bryan Ferry, possessing a voice that was glamorous yet capable of sounding menacing when
needed, and Andy Mackay (on sax and oboe, coaxing out an incredible sonic range), and Phil Manzanera (a guitarist
who possessed undeniable credentials in an era when every self-respecting guitarist had to prove their worth), and
Paul Thompson (on drums, anchoring a sextet with such great chemistry), there was Brian Eno. He was the element
that would disrupt any sense of equilibrium, or, conversely, help them find balance within the very imbalance that
made them unique.

"Re-Make / Re-Model" kicks off without asking for permission; Manzanera's guitar seems to attack, and the same
goes for Ferry's vocals, almost punk before punk existed. They sounded frenetic, with McKay's sax channeling free
jazz, and were expertly backed by Graham Simpson's bass. Brian Eno's signature backing vocals and synthesizer
interventions were already present; he brought the electronics, he brought modernity. You can sense the freedom
and the way they play around with interruptions (including a nod to the Beatles) during the pauses before the
finale. Ferry was not just a singer with a distinct personality; he also contributed significantly on the piano with his
dissonant notes. They had fun experimenting in the studio, and that spirit was captured on the record; the proof is
that it sounds like a live album.

"Ladytron" opens with a space-rock feel; Mackay's oboe displays a subtlety echoed by Ferry, revealing a facet of the
band completely different from the previous track. The sound then seems to shift toward the Canterbury scene,
with the saxophone and guitar sharing the lead, at times epic, at others drifting aimlessly without vying for the
spotlight. "If There Is Something" surprises with a country-western atmosphere, yet the band transforms it into
glam rock in the vein of Bowie or Elton John; then, Manzanera's Black Sabbath-esque solo tears us away from the
Wild West, while Ferry sings as only he could, at times reminiscent of Family's Roger Chapman.

"Virginia Plain" would become one of the band's classics from this early period, featuring the humor in Ferry's
vocals combined with Eno's synthesizer work, all within a track that remained, at its core, rock 'n' roll in their own
distinctive style: an avant-garde approach devoid of solemnity, which is precisely why we still love it so much.
The wonderful thing about this debut was its variety; as we shifted to something more serious and experimental
with "2HB," Ferry's voice transported us to space epics and evoked a yearning for a bohemian past, something he
harbored even in his youth at the time, which also gave the band a modern edge. Paul Thompson varied the
rhythms, introducing more syncopation, while the saxophone's intensity receded, leaving Eno's keyboards to
persist, looping over and over, and making us feel as though we were inside Kubrick's 2001: A Space Odyssey.

We are talking about space, and it feels as though we are plunging into a black hole of unknown destination; "The
Bob (Medley)" kicks off, following the intro, with an epic rock sound driven by saxophones reminiscent of Van der
Graaf Generator and Ferry's defiant vocals. Then comes a medieval section, echoes of the past, fitting for a band as
cinematic as Roxy Music (especially during this era) followed by raw, wild rock, yet punctuated by synthesizers that
feel like blocks of ice in the desert, alongside Mackay's frenetic oboe. And when Ferry's piano notes arrive, and the
guitar soars like thunder in a storm, making its presence powerfully felt, we know this band is like no other.

"Chance Meeting" is one of those very special tracks that seem not to have been composed on Earth, possessing a
strange beauty and a strange melody; it certainly resembles contemporary classical music, dissonant and
asymmetrical, with an architecture that defies established conventions. This is because the piano and Ferry's calm,
simmering vocals contrast with Manzanera's guitar, which cuts through the air like a power saw.

If you think Would You Believe settles into calm and normalcy, you are mistaken; Ferry's obsession with nostalgia
takes us, for the first time, though not the last, back to the 50s, but in a wild, street-level style.

"Sea Breezes" once again pushes the boundaries of the avant-garde with an Eastern-tinged melody where Ferry's
voice takes center stage, shining like the marquee lights of an old theater in a seaside town where seagulls bear
eternal witness to the people passing through year after year. The music conjures images and stirs emotions; it
seems to repeat itself yet introduces subtle shifts, unfolding slowly, like the passing years, almost imperceptibly.

Beneath the layers of wildness and impetuosity lay wisdom and deliberate structure; Paul Thompson knew exactly
when to make his entrance, and just as the oboe plays a delicate melody, Manzanera cuts through it with his guitar,
creating a harmony born of chaos. When Ferry sings, it is as if he is backed by a strange orchestra, strange, indeed,
but an orchestra nonetheless.

Precisely by downplaying an era that seemed to be growing increasingly serious, they conclude with a simple,
almost a cappella melody titled "Bitter's End", a tune reminiscent of an old village, quintessentially English, fully
aware that every avant-garde movement follows its own unique path.

RUSH Fly by Night (Heavy Prog, 1975)

Sun, 13 Sep 2026 11:56:19 EST

Review by Alxrm — The beginning of the real Rush - no offense to John Rutsey and the debut album which I really like- but Geddy and Alex
ever since were aspiring for a deeper sound and a more progressive direction which didn't appeal to John. This is
made plain even from the intro of the opener of the album which actually was the jamming they did together when
Neil was auditioning for the band. Even though the music remains essentially rock and most song durations are
around the three-minute mark, the first twists and turns make the presence felt. More than that, acoustic (Fly by
Night, In the End) and classical (Rivendell) guitars are tastefully used to widen their palette of sound. However, the
key-track on the album is the suite By-Tor & The Snow Dog because its complex structure would become their
compass for the future where they would go off their pure rock roots entirely.

Compared to the debut, the listener can easily perceive the growth the band underwent within such a short amount
of time. The unstrained enthousiasm is replaced by deeper and at times more complex compositions showing clearly
that the boys would not content themselves by repetition. Moreover, the new guy would become their standard
lyricist and would go down in history as one of the best of all time. We should thank our luck that their paths were
crossed.

KOSMOS K��rmesormus (Prog Folk, 2026)

Sun, 13 Sep 2026 09:32:08 EST

Review by kenethlevine — If you have followed my reviews spanning the prog folk diaspora, you'll know there is nothing I welcome less than
another version of "Scarborough Fair", with which particularly Nordic groups seem disproportionately enamored.
It therefore follows that I cannot recommend an album in which arguably the best track is in this single-song sub genre.
Sadly this is the case for the extinct-on-arrival dinosaur known now as the "Kaarmesormus". It might garner 3
stars from a new group just based on the continued mellotron blasts but not from esteemed veterans like
KOSMOS, and, while each number could be a supporting cast on a better album, this isn't that. From the soporific
first half to the plodding and equally exhausted faux metal second half with its SSRI-free spoken interludes, this is
all a big downer, and I do normally appreciate the authentically morose. If I had to pick a couple they would be the
opener and "Kielletyn hedelm]]>�once said to a friend who cried incessantly through the first few sessions, "you need a good drug". Start anywhere
else and let this one slither off to the side until you are emotionally ready. 2.5 stars rounded down.

KING GIZZARD AND THE LIZARD WIZARD Alien Metal (Psychedelic/Space Rock, 2026)

Sun, 13 Sep 2026 09:23:49 EST

Review by A Crimson Mellotron — Undoubtedly one of the great surprises of this year is the release of King Gizzard's full-blown EDM
odyssey 'Alien Metal', which is their twenty-eight studio album to date. The follow-up to 2025's
'Phantom Island' sees the Australian band abandoning all rock instrumentation for a futuristic beat-
driven, techno-inspired rave sound, utilizing a modular synth system that allows them to explore a
vast range of sequenced rhythms, electronic textures, and an overall synthetic, club-oriented
production style. Contemporary bands rarely do such dramatic stylistic shifts, but this acid-laden
creation from the kings of psychedelic blues turns out to be a fun and engaging listen (that will
nevertheless shock many dedicated fans), that is above all else, a finely constructed electronic
work, wherein each tracks flows into the next one, giving the impression of a massive piece of
progressive house. Within this mixture of quirky techno beats, bassy breakbeats, and ambient
interludes, the ominous alien-like robotic vocals that wiggle their way through, give 'Alien Metal'
somewhat of a sci-fi edge. However, despite all of the pristine synth sequences and polished studio
sound, the occasional repetitiveness of this album can potentially lead to listener fatigue.
Moreover, the synthetic club feel provides for a great background listen, but is there really that
much substance to dig into upon repeated listens? The tracks that I enjoy the most on 'Alien Metal'
are the punchy opener 'Sapience', which beautifully transitions into the excellent title track,
followed by the powerful and mesmerizing 'Level 5', and the trippy 'Uqt', which appears towards the
end. The album finale is strong, too, while the entire work feels intentionally futuristic and
vibrant, which is perhaps what most listeners would cling to.

MASTODON Marrow Deep (Tech/Extreme Prog Metal, 2026)

Sun, 13 Sep 2026 03:10:29 EST

Review by A Crimson Mellotron — This might be the first time I have not been taken aback by a new Mastodon album, simply because the
expectations have been exceedingly high this time around. A reflection upon the dramatic passing of
founding member Brent Hinds, following his departure from the band earlier, 'Marrow Deep' is a
record exploring grief through a variety of dense and ominous sounds. This is not necessarily a
return to the extreme and primal energy that had shaped the Atlanta-based band's early records, but
it comes close to being their most straightforward metal album in years. Having added touring
guitarist Nick Johnston and keyboardist Jo]]>�Mastodon is intriguing, but it lacks the untamed songwriting of Brent Hinds and his overtly
psychedelic undercurrents. For this reason, 'Marrow Deep' is somewhat less adventurous than
preceding releases from the band, even if it preserves the sludge-informed prog metal framework that
listeners have become accustomed to. It just feels solid all throughout but without significant
peaks.

Production-wise, this album is strong but not groundbreaking, with the heavy guitars occupying most
of the mix. I do, however, vastly enjoy the prominent contributions of the band's full-time keyboard
player, whose playing provides a beautiful atmospheric backdrop to the otherwise ravaging guitars of
Bill Kelliher and Nick Johnston. Interestingly enough, there is a greater highlight on melodic
textures and sombre passages on 'Marrow Deep', that had only been superficially explored on 'Hushed
and Grim'. Nevertheless, this new Mastodon record feels meandering without really having any weak
moments. Highlight tracks like the fast-paced 'Snakes for Dinner', the ritualistic sludgy number
'They're Coming for You', and the tasteful but melancholic song 'The Vanishing', featuring Geezer
Butler and reminiscent of the great 'Planet Caravan', are perhaps the only moments worth looking
forward to upon repeated listens, while monotonous heavy numbers like 'Poisonous Weapons' and 'In
the Ruins' lack the novel and mind-bending edge that used to make each new Mastodon something to
anticipate.

Longtime fans of the band will discover heaps of excellent, wild and turbulent riffs here, while the
enjoyers of the band's progressive leanings shall be pleased with the haunting keyboards appearing
on 'Marrow Deep'. Consistent and straightforward, this record hardly reinvents the Mastodon sound,
which is very likely why it doesn't fully click with me.

LILIENTAL Liliental (Progressive Electronic, 1978)

Sat, 12 Sep 2026 18:25:37 EST

Review by siLLy puPPy — One of the almost unanimously deemed disappointments that emerged from the German Krautrock meets
progressive electronic scene surely has to be this little side project called LILIENTAL (Lily
Valleys) which was somewhat of an underground supergroup initiated by the great Dieter Moebius
during some down time from Cluster. In writing it sounds like it should be the best album of the
genres with producer Conny Plank at the helm and a star studded team that included bassist Helmut
Hattler of Kraan, saxist and flausti Johannnes Pappert also of Kraan, synthesizer wizard Okko Bekker
who was a solo artist as well as performing with A.R & Machiens and solo moog trippy Asmus
Tietchens. Together this team released one self-titled album in 1978 that featured ambient
synthesizer electronica, subtle rock elements and smooth jazz.

This album features the ultimate mismatch of cover art and musical content inside with a
presentation that suggests a glam rock or new wave type of album but rather delivering a trippy and
heady journey through koschmische sequenced looping and and experimental avant-garde psychedelia.
The album featured six tracks that added up to about 35 minutes and like most of this style of music
was almost entirely instrumental however wordless vocal utterances such as the haunting chant-like
effects on "Adel" do emerge albeit slightly imperceptibly. With four keyboardists at the helm
including Conny Plank who performs as well as produces, the music is a tapestry of synthesized
grooves and contrapuntal ambience which offers some interesting experimentation but nothing
substantial different than what Moebius had been cranking out in other projects such as Cluster.

This one is a mixed bag really. The first side is pretty good actually with "Stresemannstrasse"
ushering in one of those classic hypno-grooves that streams on like a river of sound for a good five
minutes. Like many Moebius projects the ambient surges are repetitive, soothing and meditative.
"Adel" follows and offers a few more shifts in dynamics that leads to an angelic "choir" effect at
the end. The track "Wattwurm" features a catchy melodic keyboard riff over a nonchalant space rock
beat that is the catchiest pop hook on board. SIde two begins with "Vielharmonie" which has an intro
sound that reminds of how Pink Floyd's "Dark Side Of The Moon" album begins however this track sort
of sputters around and never develops into anything substantially interesting. The final two tracks
drift on into an ambient form of smooth jazz which totally destroys any momentum the album was
generating during the first half.

As a side project this isn't overtly horrible but rather feels like a rather generic by-the-books
effort made even more so given the high profile personal involved proving that often so-called
supergroups suffer from watering down each other's strength rather than enhancing them. This sounds
more like a Moebius solo project than any larger group effort and the first side is actually very
pleasant but the second side seems to just aimlessly wander and marred further by a Kenny G type of
saxophone presence that probably prognosticated the advent of smooth jazz that was all the rage in
office cubicles and elevators alike in the 1980s. Despite the ridiculously awful album cover, the
first half of this album is pretty decent prog electronic while the second half i could more than
live without. These guys wisely went their separate ways after this footnote in Kraut history.

SATIN WHALE Desert Places (Prog Related, 1974)

Sat, 12 Sep 2026 18:25:02 EST

Review by siLLy puPPy —
A band and a debut album i honestly have never gotten the hype about. SATIN WHALE like many was a
collection of musicians that had previous histories and around 1971 found common grounds in joining
the popular prog rock scene of the era. This is one of those bands that eschewed the headiest trips
of what was taking place in the world of Krautrock and rather opted for a more traditional proto-
prog blues rock oriented style which while not totally unheard of during the late to the prog party
year of 1974 certainly rendered the band a bit anachronistic when this debut DESERT PLACES was
released. The band consisted of Thomas Br]]>��(keyboards) in 1971 with guitarist Dieter Roesburg joining the ranks in 1972 making the band a
quartet.

The band emerged in the Cologne region of Germany which was the birthplace of a number of
influential bands such as Can, Triumvirat and Eiliff originated. Although somewhat original in how
it wove together the guitar-oriented blues rock prog that spawned the earliest Krautrock sounds with
an occasional jazzy touch, despite it all the band sounds more in line with what was happening in
the 1970-71 timeline than the waning year of 1974 in the prog paradigm. Essentially based on the
bluesy rock style that had propelled the late 1960s into the 70s, DESERT PLACES seems to have an
affinity for revisiting those years without any attributes to really propel it into the next level
of development at the time. This is essentially one of those albums that's pleasant to listen to but
keeps you wishing that it would all go somewhere more interesting .

The album was released on Brain Records which also was instrumental in acts such as Klaus Schulze,
Spirogyra, Caravan, Atomic Rooster, Khan, NEU!, Grobschnitt, Guru Guru and even early Scorpions.
Well, you get the picture. SATIN WHALE just wasn't up to par with these other innovative forces in
the German Kraut scene although nothing on the album is offensively substandard in any way. The
vocalist is competent, the music is listenable and it offers nothing to grossly offend but yet it
seems a bit underwhelming in comparison to the multitude of brilliant acts that were emerging during
the time and place even within the locality of the German market itself. German criticism has also
expressed similar views with this band really failing to offer anything innovative or declarative in
its essence.

Overall it's an album that offers that perfect glimpse of 1969-70 only several years later. If it's
a style you find most appealing it's all fine and dandy but even taken at those standards it really
doesn't excel at anything. The keyboards sound woefully dated, the musicianship while competent
doesn't ever deliver anything beyond competent and the album is rather dull if you're expecting one
of those furthest out there tripping types of music that Krautrock was extremely adept at crafting.
Of course this is all subjective and many have deemed this album extremely exhilarating but for
those who want something a bit more idiosyncratic in their Krautrock experience then it does seem to
be a bit of a let down especially upon multiple listening experiences. For a more competent similar
styled band that sounded dated but still excelled beyond the basics in many ways, check out Twenty
Sixty Six and then.

SPIROGYRA St. Radigunds (Prog Folk, 1971)

Sat, 12 Sep 2026 18:21:10 EST

Review by Fercandio46 — A multitude of images flood my mind upon hearing the opening notes of "St. Radigunds", evoking the arid, stripped-
down atmosphere of a Western, or the German band Hoelderlin in their initial incarnation as H]]>�(1972). Yet, although Spirogyra began as a duo, just like the Incredible String Band, it started as a trio, it was as a quartet (augmented by guest friends) that they truly took shape after Martin Cockerham, their founding guitarist, returned from the University of Kent in Canterbury.

The guest lineup included drummer Dave Mattacks, so it is hardly surprising to detect traces of Fairport
Convention's mysticism in this debut. The music strikes a balance between a powerful, distinctive acoustic sound
and a prominent electric bass presence, courtesy of Steve Borrill.

"The Future Won't Be Long," the opening track, shines thanks to Martin Cockerham's vocals, reminiscent of Bob
Dylan, and Julian Cusack's violin. There is a touch of psychedelia in "Island"; the acoustic guitar and violin weave an
atmosphere that envelops Cockerham's voice, showcasing a technical virtuosity that serves the music without
overshadowing it, yet remains present to provide dramatic tension.

"Magical Mary" is fascinating because the meter shifts to accommodate the vocals before speeding up, lending the
song an uncanny spirit; the interplay between the violin and the electric bass provides a brilliant highlight where
classical music meets Celtic influences. The tempo accelerates to a peak that brushes against psychedelia, until a
second section begins, bursting with originality, showcasing the voice of Barbara Gaskin, the Grace Slick the band
had kept under wraps.

That subversion of time continues in "Captain's Log," while Dylan's tone also colors that rocky seascape. One foot in
the '60s and Beatles-esque baroque trumpet arrangements in "At Home In The World." Returning to the stripped-
down landscape of Cogwheels, Crutches and Cyanide, which reminded me somewhat of The Waterboys, given that
Spyro Gyra would also leave behind heirs to their distinctive style, the combined vocals of Barbara Gaskin and
Martin Cockerham blended beautifully, lending even greater power to the composition.

"Time Will Tell" also surprises with unexpected shifts, and the bass plays off the piano, played here by Julian Cusack.
From complexity and intricacy to the simplicity and beauty of "Love Is A Funny Thing", where Barbara channels
Sandy Denny, the sense of balance is welcome.

A rhythmic, steady groove infuses "The Duke of Beaufoot", a track that is also highly progressive, evoking a world of
ivy-clad walls and statues bathed in moonlight; it speaks of taking a moment to pause time itself, a square featuring
a sundial or a cistern serving as a reminder of the past, while that guitar, bass, and steady violin line bring it all back
to mind.

STEVEN WILSON Requiem for a Village (Crossover Prog, 2026)

Sat, 12 Sep 2026 18:03:04 EST

Review by XixoTheRock — Our beloved Steven Wilson has spent most of this year promoting his next record as a complete 180]]>�turn from the musical approach his 2025 LP "The overview" explored , Wilson said this record would
be heavier, darker, tighter and more aggressive, and this first glance at what he's been working on
this year, has shown he was determined to give exactly what he promised.

As usual, Wilson delivers a high quality product, those who are familliarized with his golden years
with Porcupine Tree will have a great time listening to this single, "Requiem for a dream" could
perfectly fit In Absentia or Deadwing if it were an instrumental track, this single has left the bar
very high for the rest of the record, which will be released in it's totality by November 6th 2026.

Musically, this is the absolute heaviest Wilson has been since "Hand. Cannot. Erase", it's a coarse,
muddy sound, of course this is accompanied by a cover art which resembles Black Sabbath's 1970 self
titled LP's cover, and Iommi's influence is felt here on the main guitar riff, which is also
reminiscent of Porcupine Tree's track "Open car", a drop D tuning riff if my ears are right. This
track has an edge sharper than a machete, and is just as aggressive as a maniac who wields the
machete, it's a rhythmic tornado full of polymetrics and polyrhythms, very jazz fusion infused, I
have read some on reddit say it's very similar to Luminous from his record "The Raven who refused to
sing" and I get their point, both are rhythmically driven songs, protagonized by some killer bass
riff and frenetic drumming, with the exception of course that this track has much more guitar
presence, with the riff being the cherry on top. It's layered which gives this aforementioned
tornado feel, between the keys, drums, bass, guitars, weird electronic stuff and Wilson's vocal
delivery (through most of the song) it immerses you fully in the story. I'd like to make a point
that it sounds as a "what if 80's King Crimson was heavy" scenario, as always, Wilson delights us
with his charm and natural wit towards making killer riffs, immersive textures and working with
extremely talented musicians! (Won't even talk about the production, although it is muddier than
your standard Steven Wilson production, it is deliberate for narrative purposes, well, it's Wilson
who we're talking about, could we expect less than a masterclass production of him?)

I have only 2 complaints about the track, only one of which is music related. I'd like to say the
falsetto that opens the track (similar to the opening falsetto from "Objects outlive us" from his
"The overview" LP) is...not pleasant to listen to at all, Wilson tries going out of his vocals range
too much, it's forced, it doesn't add much really and to be fair, could have been replaced by
anything else, Wilson's falsetto's are just not enjoyable at all. My second complain is the lyrics,
which suffer from the same problem some lyrics from "Fear of a blank planet" do, they can get corny
and overly dramatic at times, and using some modern day, urban British slang in a track that is
supposedly taking place in a rural, highly religious and backwards town does not help with immersion
and narrative, and making all lyrics rhyme is not really a great idea, since it hinders what could
have been better lyrics (lyrics don't need to rhyme to be good, just ask Roger Waters).

Other than those 2 complaints, this single is fantastic, and I am sure if you are a Porcupine tree
fan, or just a heavy prog fan, you will adore it!

FOCUS Hamburger Concerto (Symphonic Prog, 1974)

Sat, 12 Sep 2026 15:43:48 EST

Review by Jwcooper3 — Listing to this album I get the impression that all the bands energy was spent on Focus 3. A lot of the music
here sounds a bit tired. It is also obvious that Akkerman's participation is severely lacking in comparison to
their previous work. There were rumors that Akkerman and VanLeer were on the outs during the writing
and recording of this album, not to mention the rhythm section personnel changes signaling some
dissention or exhaustion in the ranks. Still, there are some fun passages sprinkled here and there, but HC
comes off as more of Moving Waves redux, which is unfortunate as Focus 3 was so musically meaty from
start to finish.

SAVATAGE Dead Winter Dead (Progressive Metal, 1995)

Sat, 12 Sep 2026 15:38:23 EST

Review by Hector Enrique —
Savatage uses Sarajevo - torn apart by the fighting during the Bosnian War in the 1990s - as the setting for the concept
album "Dead Winter Dead" (1995), their ninth album. A young Serbian man (Serdjan) and a young Bosnian Muslim
woman (Katrina), pitted against each other by the armed conflict but connected by the art of an elderly cellist who
stubbornly insisted on playing his instrument amid the crossfire, are the characters that serve as a vehicle for the
American band - in their distinctive style that blends heavy, hard-rock rhythms with neoclassical and theatrical elements -
to reflect on the manipulation of power that pits peoples against one another.

"Dead Winter Dead" rebels against political machinations, weaving a atmosphere of intrigue and unease throughout the
album starting with the unsettling "Sarajevo", which depicts the city through the eyes of a stone gargoyle perched atop
the bell tower of the church in the main square - as reflected on the striking album cover. From there, evocative moments
such as the hopeful power ballad "This Is the Time" - featuring a couple of superb guitar solos by Al Pitrelli and a
memorable chorus -, or the melancholic "This Isn't What We Meant", or the tragic "One Child", with its masterful
polyphonic harmonies, are interspersed with the aggression and hostility of metal riffs, reflecting the heightened tensions
of war and its consequences, in tracks like the martial and menacing "I'm" or the mercenary "Doesn't Matter Anyway" -
guided by Jon Oliva's deep, theatrical voice - or the corrosive, eponymous "Dead Winter Dead."

And what really rounds out the album are Robert Kinkel's careful orchestral arrangements, which complement Oliva's
keyboards, and the participation of cellist Mary Wooten in the symphonic "Mozart and Madness," the brief "Memory" - a
beautiful guitar interplay inspired by Beethoven's classic "Ode to Joy" - and, especially in the resilient Christmas anthem
"Christmas Eve (Sarajevo 12/24)" - which also served as the seed for the later Trans-Siberian Orchestra project - that
conveys hope where there seems to be none, and which the closing track "Not What You See" brilliantly redeems with the
full band in an epic grand finale.

Very good.

3.5/4

BUBU El Ultimo Cortejo (Eclectic Prog, 2026)

Sat, 12 Sep 2026 14:04:38 EST

Review by Heart of the Matter — The Bubu collective resume their project, still with founder, composer and bass player Daniel Andreoli leading
the way through a very special path, carved in the confluence of Avant, Chamber Prog with ethnic influences
stemming from folk and urban traditions.
Having said that, be sure that the music in this album perpetrates no assault on anybody's ears. On the
contrary, even being far removed from easy-listening territory, and decidedly experimentation bound, things
always develop and grow organically, beautifully rooted in great melodies sometimes (take the title track as an
example), minimal cells of rhythm or harmony that evolve into dense atmospheres other times, like in the
opener, or simply an amazing motif passing through a delicious chain of refractions supplied by an ever-
changing harmonic setting that, according with the contemporary-chamber premise, channellizes the auras of
usual suspects, such as Bartok, Stravinsky, the Vienna School, King Crimson, you name it (track 2, Ciudad, is the
perfect example).
Or maybe those are just the raw materials, the bricks that shouldn't be taken for the building itself, so to speak.
The true air and soul of this music still haunts me, and that's the part which is so much harder to talk about.
But that air is not confined to any room, that's for sure. It rather lives and breathes in the kind of landscape that
only comes to you in dreams.

BERT JANSCH The River Sessions (Prog Related, 2004)

Sat, 12 Sep 2026 09:24:07 EST

Review by greenpete — This solo live acoustic performance by Jansch occurred during one of his non-Pentangle creative peaks. A
1974 show before an enthusiastic but respectful audience in Glasgow, it is everything Jansch lovers could
want: just the man and his acoustic guitar. Many of the songs are from one of his best solo releases, L.A.
Turnaround (sympathetically produced by ex-Monkee Mike Nesmith). However, absent is Red Rhodes'
arguably intrusive pedal steel guitar, which on Turnaround gave Bert's songs a faux-country feel.. Here, one
can better get absorbed into Jansch's complex fingerpicking. But he also mixes up the picking with some
melodic but powerful chord strumming, notably on the autobiographical song "When I Get Home," inspired
by a beloved uncle of Jansch's. Similarly autobiographical is "Build Another Band," about Jansch's attempts
to find sympathetic co-musicians. Other highlights are the Pentangle song "I've Got a Feeling" (melody
borrowed from Miles Davis's "All Blues"), "One for Jo," the progressive folk-guitar mainstay "Angi," "Fresh as
a Sweet Sunday Morning," and Jansch's gorgeous re-structuring of a classic Christmas carol, "In the Bleak
Midwinter." On the latter song he good-naturedly teases the crowd for not recognizing the title after he
announces it. And that's another bonus with this concert: we get to hear a supremely confident Jansch
converse between songs. He even delivers a cool potted history of the song, "Stone Monkey."

Thus far this great concert is only available in CD form. But we can be grateful the sound quality is superb.
Note: the PA track listing for song number 13 is wrong on two counts. "Running From Home" is a totally
different song from "Strollin' Down the Highway," both of which are Jansch originals; AND it's the wrong
song! (No. 13 is actually a cover of the blues song, "Key to the Highway.") Still, The River Sessions,
though the music is as far from Prog as one can get, is essential listening for fans of this legendary musician.

DEEP PURPLE Splat! (Proto-Prog, 2026)

Sat, 12 Sep 2026 03:24:54 EST

Review by alainPP — Deep Purple releases a stunning 24th album.

"Arrogant Boy" features a classic Purple-esque sound, with Simon and Don guiding each other through a galloping
melody; gone are the tracks of yesteryear?make way for a fun song featuring a Hammond organ that channels Jon
Lord, Ian's tight drumming, and angelic vocals. It's high-energy vintage rock in the vein of "Highway Star," telling the
tale of an angry Billy. "Diablo" brings a groovy, retro vibe with swirling, mischievous energy. A symphony of organ
and guitar ensues, with Keith Urban treating us to a country-blues solo reminiscent of ZZ Top. "The Rider" feels a
bit repetitive, with Simon strumming in a melodic heavy-blues style. "The Lunatic" is driven by the organ; its
sophisticated, airy usage is surprising, shifting into heavy prog during the solo. "The Only Horse in Town" opens
with a velvety, proggy keyboard part; it's a jaunty tune where Simon channels a guitar hero, transporting us back to
the 80s. "Sacred Land" keeps the listener hooked, starting with a disarming, atmospheric prog intro. Thirty seconds
of pure bliss are followed by a Zeppelin-esque riff, with a Scottish air adding to the journey.

"The Beating of Wings" offers a melting blues moment reminiscent of the band's heyday, complete with a nostalgic-
style solo.
"Guilt Trippin'" is the radio-friendly track?4 minutes and 52 seconds of piano arpeggios and martial snare drums
exploding into an incandescent scorcher. It depicts a dialogue between God and Darwin about where things went
wrong on Earth; Ian delivers a unique, snarling vocal performance, narrating the story before giving way to two
solos?one of which is a breathtaking honky-tonk piano piece. "Scriblin' Gib'rish" is classic hard rock: heavy, with
sparkling keyboards and a blazing guitar riff. "Jessica's Bra" offers a spirited, moving, and fresh track, complete with
a bluesy solo featuring heavy organ and frenetic piano. "Third Call" showcases organ work in the vein of Lord and
Airey?you wish it would go on forever?featuring an apoplectic, exhilarating organ solo. "My New Movie" is a
straightforward, flowing tune featuring a solo by Simon over Roger's bass and a keyboard break that makes you sit
up and take notice; it's like a sonata?simply divine. "Splat!" reminds me of an 80s track; it serves as a finale for an
eclectic electric keyboard solo?reminiscent of Stevie Wonder?with a distant echo of ZZ Top. It's a track that brings
you back to life?a breathless 50-minute ride.

Deep Purple stands as a prime example of rock's enduring longevity. Simon is the driving force; he forges an
identity that doesn't merely imitate his predecessors, riding alongside Don?a knight-errant amplifying his musical
excursions. The 70s may be gone, but this album is redolent of the memories we'll always carry with us.

DALTONISTS gradient (Jazz Rock/Fusion, 2025)

Fri, 11 Sep 2026 18:28:13 EST

Review by tszirmay — By sheer perseverance and absolute luck , I landed on an online video of a piece from their previous debut album,
recently released in September 2025. It was so good, I immediately purchased it on Bandcamp, as well as this
November 2025 one. Why, may you ask? A multitude of conspirators united in getting me hooked on this new
trouvaille, starting with the country of origin Poland, being an absolute well of incredible music in the past 40 years
and still going strong. Secondly, my tastes have evolved very much into a definite zone of admiration for
expressive bass guitar lines, faithfully adorned with terrific e-piano, organ and synths that come straight out of the
instrumental jazz-rock, groove-fusion era of the late 60s and 70s (think Brian Auger, Booker T and the MGs and
such) , all propulsed by a robustly-appointed beat factory. The energy is palpable, the passion overtly addictive and
the mood positive and buoyant. If you are looking for depressive sonic compliance, listen away in another
direction. The band is a trio (yup, no guitars) that favours a jumpy, organic, raw and yet plush style that could
easily define the modern electro-jazz-disco-funk hybrid jam that one could enjoy with acts like Tobor Experiment,
Bottazz!, London Underground, Project Gemini and surely many others yet to discover. Mind music one can dance
to, tap fingers or feet uncontrollably and just smile along for the ride. Keyboardist extraordinaire Roman Wrobleski
, bassist Orz and immaculate drummer Jacek Rezner combine to create real palpitating pieces that ooze class,
sweat and brawn all in one groove.

One can easily snap their fingers to the cool Pacific Coast luxuriance on "California Plum Color", a perfect
introduction to their suave style, as described above, emitting a vintage vibe, not too far removed from those
Ocean Eleven etc.. soundtracks. What makes this so compelling is the occasional twist in alterations, boldly
inserting pools of effects and creative deflection to the highly melodic foundation. Roman's fingers dance over the
ivories with skill and inspiration yet rigidly protecting the rhythm divine groove at all times.

The similarly sized "Gradient 1" and "Gradient 2" for a one-two punch showcases the smoothness of tone and
color, occasional swerves into hypnotic repetition that surely provides for bodily reactions to take place. Rezner's
manic drumming sits well with the plump bass lines that cast the needed spell. The buzzing cymbal work in
particular is noteworthy, a sizzling shuffle that swats indifference away like flies, urging, pushing and leaning on
the pulse courageously throughout. The sparkling e-piano not only offers melody but also a high energy
percussive slant that keeps the juices flowing, like layers of sonic terraces one after the other.

The trio really keeps the pot boiling on the frothy "Antelope Color", the focus openly targeting the synthesized
electronics as they become overtly experimental in the background, Rezner pounding hard and fast, Wroblewski
whipping out a leaping organ rant and the bass keeping it all neat and orderly in between. Fascinating ! "Summer
End Color" was leaving a hot and sweaty realm, gently blowing into a cooler expanse, as if frigid Arctic squalls
intended to relieve the heat. The warm speed slowly winds down to a reverential ending.

The highlight is revealed on the tow final pieces the "Oolong Color" clocking in at 4:39 and its extended 7:45
version, a dozen minutes of exuberant and expressive fusion of a substantial variety of stylistic categories that also
includes ambient seagull screeches, a funk-jazz rhythmic palisade, and some grove-induces aural hallucinations,
especially evident in the extended version, where there are some slight Ozric Tentacles sonorities (if one omits the
psychedelic Ed Wynne guitar pirouettes) that keep the dreams alive. Orz and Rezner in particular revel in the
electro-reggae shuffle, conjuring jungle fauna and flora images that feel like lotus leaves unfolding or giant
mushrooms sprouting from the ground (artwork ideas for Roger Dean).

Another precious discovery I intend to cherish, as I simply adore this kind of music.
4.5 colour blinds

NEAL MORSE The Neal Morse Band: The Similitude of a Dream (Symphonic Prog, 2016)

Fri, 11 Sep 2026 17:09:16 EST

Review by ianjferris@gmail.com — This album is good. In fact it's very good. This is Neal Morse doing what Neal Morse does best - Progressive Rock Music.
However (there's nearly always a "however", isn't there), I just can't get away from the fact (for me it's a fact) that this
album sounds like a poor man's version of Transatlantic. I can't fault anything on the album - the music, the lyrics, the
concept, the delivery and the production..... It's all very good. It's just that after playing cd 1 (sometimes I'll put on cd 2
first), I always reach for one of the Transatlantic albums (I have them all) in my vinyl collection. I just wonder, if Neal had
condensed and confined this album to just one hour in length, would it have been a better and an easier listen. Yes, it
would. So for me right now, just three stars.

JEAN-LUC CHEVALIER Un Pied Dans Le Vide (Jazz Rock/Fusion, 1985)

Fri, 11 Sep 2026 11:44:00 EST

Review by Fercandio46 — France has always been a land of revolutions, ranging from the political to the musical. The French had their own
way of assimilating various foreign currents, adapting them to their own unique character. They did this with classic
jazz, featuring musicians such as Michel Legrand, St]]>�Belgian, spent the majority of his career in France), and later by adopting jazz-rock fusion into their style, as
exemplified by Jean-Luc Chevalier, a guitarist born in the Cholet region of France in 1948. In fact, Magma, Christian
Vander's band, incorporated numerous fusion elements and featured Chevalier from 1978 to 1984.

When he joined Magma, everything clicked perfectly; it wasn't just a matter of the style suiting his own. As Chevalier
himself often maintained, what mattered was the "spirit," not pretentious intellectualism. He would often say that a
track like John McLaughlin's "Guardian Angel" must have been composed in a trance-like state, driven by the energy
of the moment. Chevalier used to say that Jeff Beck, Jaco Pastorius, Christian Vander, and Hendrix were not
"armchair intellectuals," and that, precisely for this reason, that kind of contamination did not exist in Magma.

With Magma, he played not only the guitar but also the bass, and, as he himself maintained, it was about intense
emotions, about unleashing a hidden madness. He maintained a long-standing relationship, spanning many years,
with percussionist Jean Chevalier (known as "Popoff"), who had joined Zig Zag in 1972 and with whom he would
form various duos and trios. In the early 1980s, he formally launched his solo career, performing in a trio alongside
Bertrand Renaudin and Marc Eliard for the album Un pied dans le vide (1985), a work that featured an experimental
vibe reminiscent of Mike Stern's early period (wild and fast-paced), as well as an ethnic spirit that permeated the
recording.

Paradoxe N]]>�seemingly stripped-down jazz trio format, the sound could feel as though it were floating in space. Meanwhile, on
L'Abandon, the guitar doubles the very same keyboard riffs typical of jazz fusion. Amiti]]>�and in this regard, it also draws a parallel to Pat Metheny, who could improvise and experiment without ever losing
sight of the harmonic and melodic direction.

"Baillou Pack Pack" features the electric bass driving a distinctly funk-oriented sound, while Chevalier's guitar work,
incorporating distinctly Arabic-style solos, lends itself to extended improvisation; the track then shifts into a rock
style, undergoing a dramatic stylistic metamorphosis, all within a single song.

In "Concerto Grosso," percussion plays a pivotal role, and the nylon-string guitar provides a warm tone reminiscent
of Baden Powell, who was living in Europe at the time, occasionally veering into dissonance and pushing boundaries
in the same spirit as the Brazilian master.

"L'abrozo" continues the fusion with a highly recognizable bassline but a restless guitar, initially adopting a Robert
Fripp-esque "Frippertronics" style before shifting into atmospheric jazz that the guitarist himself proceeds to
distort, all while the rhythm section accelerates and decelerates in support. In any case, it's impossible not to tap
your feet.

"Un pied dans le vide", the title track, appears at the end for a very good reason: it is epic. The melody is unusual for
a fusion album; indeed, coming from a French guitarist schooled by Christian Vander, nothing could be predictable.
Infernal, dark notes erupt from the guitar, while the drums and bass provide the wind that allows that "bird", his
guitar, to take flight. There are echoes of King Crimson, uncommon for a fusion record, and one might even be
reminded of the band Present, until a sophisticated atmosphere reminiscent of a French police procedural or film
noir takes over the song, maintaining that same sense of mystery.

During his time with Magma, Chevalier adopted the name Wurd Gorgo (in the style of Gong members) which meant
something akin to "The Demon Gorgo" in Koba]]>�of the spirit of his discography, inviting us to join him in that journey.

MOVING GELATINE PLATES The World Of Genius Hans (Canterbury Scene, 1972)

Fri, 11 Sep 2026 09:47:24 EST

Review by Abrasmatheus — The World of Genius Hans is an excellent example of the more jazz-oriented, experimental and eccentric
side of early-70s progressive rock. The second album by the French band Moving Gelatine Plates, it dives
deeply into the Canterbury Scene, combining progressive rock, jazz-rock, psychedelia and a good dose of
satirical humor.

What stands out the most is the complexity of the compositions. The songs seem carefully constructed,
especially in their instrumental sections, featuring several rhythmic changes, thematic development and
interesting interactions between the instruments. Despite this complexity, the changes generally feel
natural and do not seem to exist merely to show off technical skills.

The instrumentation is probably one of the album's greatest strengths. Guitars, bass, drums, keyboards,
saxophones, flute and other instruments create a very rich sound. The musicians demonstrate good
technical ability, but fortunately the virtuosity remains subordinate to the compositions. The result is a
technically sophisticated album without becoming excessively cold or purely focused on instrumental
showmanship.

The influence of the Canterbury Scene is quite evident, especially from bands such as Caravan and Soft
Machine. Some elements also recall the more eclectic and experimental side of progressive rock.
Nevertheless, Moving Gelatine Plates manages to develop a personality of its own, particularly through its
humor, unusual instrumentation and combination of jazz and progressive rock structures.

The title track, "The World of Genius Hans," is the main highlight. At around 14 minutes, it features
numerous rhythmic changes, strong jazz influences and interesting synthesizer passages. It summarizes
the album's overall concept very well and demonstrates the band's ability to work with long compositions
without abandoning melodic ideas.

"Funny Doll" and "Astromonster" are also among the best moments of the album. The former presents a
very characteristic approach from the band, while "Astromonster" explores a more psychedelic and
experimental atmosphere.

Another positive aspect is the album's cohesion. Despite the variety of ideas and styles, the album works
very well as a complete listening experience. There is a relatively consistent musical identity throughout the
record, and the alternation between more intense, jazzy, psychedelic and humorous moments keeps the
listener interested.

The production also deserves praise. Even though this is an early-70s recording, the instruments are
relatively easy to distinguish, allowing the listener to appreciate the details of the complex arrangements.

I would not consider the album perfect. Although the compositions are very interesting, a few passages can
feel somewhat random, and the influence of other Canterbury Scene bands is quite noticeable. Therefore,
despite its quality and complexity, I would not place it among the absolutely essential progressive rock
albums.

Nevertheless, The World of Genius Hans is highly recommended for fans of the Canterbury Scene, jazz-rock
and the more experimental sides of progressive rock. It should also appeal to jazz-fusion fans who are
interested in exploring progressive rock.

Best tracks:

1. The World of Genius Hans
2. Funny Doll
3. Astromonster

Honorable mention: Les ]]>�

A highly recommended album for fans of Canterbury Scene, jazz-rock and progressive rock, particularly for
listeners who enjoy complex arrangements, unusual instrumentation, frequent rhythmic changes and a
humorous experimental approach.

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

Fri, 11 Sep 2026 08:33:52 EST

Review by siLLy puPPy — One of the major players of the 21st century folk revival scene, JOANNA NEWSOM has found
international fame with her unique musical performances that includes intricate harp instrumentation
and a very unusual quirky vocal style. While her album "Ys" would propel to folk royalty, her debut
release THE MILK-EYED MENDER was met with positive critique and universal love as well. NEWSOM grew
up in Grass Valley, California and is actually distantly related to the state's governor. NEWSOM was
gifted with a rather quick ascent to fame after only appearing as a guest musician on a Nervous Cop
album before setting out on her own and capturing the folk world's attention in record time. After a
couple warmup EPs, she has released four critically acclaimed albums so far.

THE MILK-EYED MENDER was NEWSOM's debut which not only showcased her multi-instrumental talents that
included harpsichord, piano, keyboards and harp but also featured her unique songwriting styles that
had one foot in the catchy world of pop music while maintaining an authentic medieval feel detached
from the modern day excesses of production and technology overload. This is a solo album from
beginning to end with NEWSOM performing every instrumental and having written and sung every song.
While "Ys" would evolve NEWSOM's sound into a more complex orchestral production, THE MILK-EYED
MENDER is the perfect place to inure your musical sensibilities to NEWSOM's bizarre sounding vocal
idiosyncrasies.

The album features 12 tracks that add up to just over 52 minutes and all written by NEWSOM herself
except the traditional folk song "Three Little Babies." The album indeed comes off as a collection
of child-like songs structured around the harp which plays an interesting role as both the basis for
rhythm as well as providing the melodic backing to NEWSOM's lyrical performances. The album also
features both acoustic and electric pianos as well as harpsichord but the album is fairly sparse as
far as instrumentation and showcases NEWSOM's ability to express herself through the barest of bones
simplicity and yet sounding somehow uncannily complete with the harp alone serving as the entire
instrumentation for the majority of the album's run.

While the most stripped down and most accessible of NEWSOM's releases that would become more
experimental after this one's release, THE MILK-EYED MENDER holds up as a well-constructed piece of
harp-based folk music in its own right despite no excursions into the progressive chamber folk that
would find her embraced by the modern New Weird America culture that found NEWSOM in the company of
the likes of Devendra Barnhart, Animal Collective and Espers. Ironically this strong debut would
prove to only be the beginning for NEWSOM who quickly captured the momentum and expanded her
ambitions into the world of more complex progressive arenas. Many may find this a bit too naive and
innocent in comparison to the grandiosity of "Ys" however it's exactly the bare bones authenticity
that i find appealing about this debut which establishes NEWSOM as a talent in her own right before
going into more adventurous collaborative efforts.

PETRUS CASTRUS Mestre (Symphonic Prog, 1973)

Fri, 11 Sep 2026 08:33:19 EST

Review by siLLy puPPy — Like neighboring Spain, the Portuguese prog scene was stifled along with other artistic innovations
due to the stranglehold dictatorship known as the Estado Novo which retained its iron grip until the
1974 Carnation Revolution which at long last brought Portugal into the modern world. While artists
were prevented from offering their free expression, they were certainly aware of the developments
throughout the rest of Europe however two bands didn't wait for the revolution to unfold but rather
got the prog party started before the big change. The first was Quarteto 1111 and following suit in
1971 was PESTRUS CASTRUS formed by brothers Pedro Castro and Jos]]>�as the band's moniker albeit in a Latinized form. The brothers recruited Julio Pereira (guitars) and
Rui Reis (keyboards) from the band Play Boys and eventually drummer Jo]]>�1111 though, PESTRUS CASTRUS began as a prog band from the very start albeit one was more crossover
in nature bridging the psychedelic rock 60s with the more elaborately designed prog that was
sweeping the world by 1973.

The band spawned two EPs, "Marasmo" and "Tudo Isto, Tudo Mais" as tantalizing warmups but already
mastered the art of catchy melodic hooks cradled in the symphonic prog stylistic approach of the
era. The first debut full-length followed in 1973. MESTRE ("Master") was a latecomer to the overall
prog game by barely making it out in 1973 released in December but formerly announced Portugal was
ready to join the rest of the world and as a result MESTRE is considered the very first Portuguese
prog album which boldly emerged before the Estado Novo had even crumbled and unsurprisingly was
completely banned by the Censorship Commission. And it's no wonder as the lyrics (in Portuguese)
were confrontational and challenged the government directly by including adapted works of Portuguese
and Brazilian antiestablishment poets that included Alexandre O'Neill, Fernando Pessoa, Sophia de
Mello Breyner Andresen, Manuel Bandeira, and Bocage.

Stylistically MESTRE is quite diverse hosting a collection of 11 tracks that run the gamut of
keyboard-oriented symphonic prog, 60s psychedelic rock and contemplative folk with strong melodic
developments. While the style is somewhat similar to the symphonic prog of Italian artists, PESTRUS
CASTRUS wasn't as technically proficient nor were the compositions steeped in classical overtones.
The basis for the song structures is clearly more steeped in 60s psychedelic scenes only adapted to
the symphonic sensibilities that were en vogue in the early 1970s. The Beatles was a clear influence
on the melodic hooks as well as the occasional delving into the McCartney'esque vaudeville styled
show tune "Macaco" while "S.A.R.L" takes on a Santana-styled Latin rock vibe. Despite these outliers
though the album is primarily steeped with rather nonchalant contemplative symphonic rock tracks
that bring the more atmospheric moments of PFM or Banco to mind.

Overall MESTRE is a dramatic take on melodic symphonic prog that may prove to be to mainstream
sounding for many but when taken into context with the barriers put in place for albums like this to
emerge in the first place, it's an absolute testament of fortitude that this album was released as
early as it was. Perhaps not the masterpiece many have touted it as but surely an excellent slice of
melodic symphonic prog polished with a fiery passion fueled by a perception that freedom was just
around the corner. While the Portuguese language may be a barrier for lyrical comprehension for
many, the music itself is well worth the price of admission with beautifully constructed songs that
evoke all the wild mood swings of a classic prog album from the era. The band would go on hiatus for
several years with the two brothers studying abroad to earn degrees in economics and engineering,
the band returned in 1979 to release one more album "Ascen]]>��good. While the band never achieved any significant success, it has indeed become legendary on the
Portuguese prog scene.

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

Fri, 11 Sep 2026 02:24:10 EST

Review by martindavey87 — 'The Piper At the Gates of Dawn' is the 1967 debut album by British rock band Pink Floyd. I always thought I was fine with
experimental music, that I was open-minded enough to enjoy music that deviates from traditional songwriting practices.
But perhaps I was wrong, because this album is completely and utterly "out there", and my delicate senses just can't cope.

Somehow, Pink Floyd went from this album to eventually becoming one of the biggest bands in history, but I've yet to
figure out how. I give them credit for completely throwing out the rulebook and thinking outside the box, but that doesn't
necessarily mean these songs are actually any good.

Because I find them boring as hell.

The only one that remotely stands out to me, is 'The Gnome', but there's no way I'm going out of my way to listen to it.
These might have been revolutionary and exciting back in the 1960's, but that's way ahead of my time, and by today's
standards, I'll be having none of this.

Still, regardless of this debut, Pink Floyd really are one of the biggest bands of all time, so I'll continue on my personal
Floyd journey, and will see what their next album has in store for me.

TONY BANKS Bankstatement (Crossover Prog, 1989)

Fri, 11 Sep 2026 00:52:12 EST

Review by sgtpepper — Bankstatement is perhaps most straightforward Banks' attempt at pop-rock. Despite saying that, songs are, even if
not always memorable, clearly constructed.
The clear influence is Genesis' 80-sound and Banks past efforts which lead to a moderate commercial appeal of this
record. Had it been released under a different moniker, it could have scored higher.
The first song is quite a weak entry with more Genesis than Banks spirit, however the next reflective number
showcases a typical beautiful Banks melancholy with captivating chord sequence and we can hear keyboards better
now.

The next, maybe the most commercially potential song is "Queen of Darkness" with a strong melody and even a short
neo-prog keyboard solo.
"That night" reminds of the first Banks solo album thanks to its dreamy atmosphere and keyboard wall of sound.
The only Banks' sung track is "Big man" which starts like a nice Genesis symphonic track though it quickly turns into
the 80's clothes with an interesting dissonant melody.
The last track, instrumental "Thursday the twelfth" is quite down-to-earth with Banks only soloing in the second half.

There is little to find for an old Genesis fan. For pop-rock and 80's Genesis fans, you won't be disappointed. It would
have welcomed if this album was more demanding because the foundations of it are solid. If some tracks stayed
instrumental and got coloured with further instrumentation, I would have rated it higher.

KAMELOT Dark Asylum (Progressive Metal, 2026)

Thu, 10 Sep 2026 15:28:15 EST

Review by arcane-beautiful — Dark Asylum by Kamelot is quite possibly the strongest album the band have released since the departure of
former vocalist Roy Khan from the band 15 years ago. While vocalist Tommy Karevik is an insane talent, I always
found his contributions to the band to either be rather dull or just an impersonation of former vocalist Roy
Khan, but on this album he does show alot more personality & nuance, like he did with his previous band
Seventh Wonder. While this isn't overly different from what the band usually produce, the songwriting is
stronger and the guest vocalists do add extra dimensions to the band's expected gothic prog symphonic power
metal. I'd give this a low to mid 7/10. The track I'd recommend is The Sleeping Mind (Orphic Paradigm).

JON SAMSWORTH Dream On (Jazz Rock/Fusion, 2026)

Thu, 10 Sep 2026 13:17:28 EST

Review by Ctoro — Following his promising 2018 debut EP "Without Words," Samsworth once again proves he has the vision. "Dream
On" by Jon Samsworth stands out of the daring albums ever within the Canterbury scene, fully deconstructing its
traditions while encapsulating its essence in his creation. Samsworth's effort is undeniably innovative and fearless,
and, without question, the best authentic approach to the Canterbury scene at present. He dissects the
Canterbury idiom to the avant-garde extreme in favor of revealing its dreamlike beauty. Jon Samsworth succeeded
in that and for me "Dream On" the most organic yet experimental Canterbury music I've heard in years. This is his
remarkable feat, making this album unique within the genre's framework - while simultaneously transcending it.

All compositions are by Samsworth, supported by a large ensemble of talented musicians contributing a variety of
instruments. Each brings their expertise and passion, layering the sound to create energetic, multi-faceted tracks.
My personal favourite is "Topiary Exhedra with View of the Obelisk", named after an 18th-century painting by
Balthazar Nebot depicting fanciful topiary imagined to have adorned Harwell House, Buckinghamshire. A live
version is available on YouTube, performed by Samsworth on bass and digital harpsichord, with Malcolm Smith
(piano), Ricardo Little (flute), Charlie Wickham (percussion) and Mary Holland (cello). Both versions have their own
distinct appeal, offering different yet equally compelling interpretations.

This piece ? and the album as a whole ? is a rare example of someone like Samsworth, hailing from Aylesbury,
Buckinghamshire, embracing Canterbury scene heritage and presenting it in a form both grounded and
innovative. It's a difficult balance to strike extremes within the genre framework, yet Samsworth navigates it
effortlessly. "Dream On" offers a truly unique and offbeat listening experience rarely found elsewhere. If you're a
fan of experimental and progressive music of any kind, I cannot recommend this album highly enough.

Five stars.

KIMMO P�RSTI Somewhere Not Far From Here (Crossover Prog, 2026)

Thu, 10 Sep 2026 13:09:14 EST

Review by Matti — Kimmo P]]>�He runs Seacrest Oy, an independent prog label behind The Samurai of Prog, Guildmaster (both having P]]>�in their core team) and naturally his solo albums and collaborations with Rafael Pacha from Spain. This new
release from him may not be among my personal favourites, but the cover artist Ed Unitsky has (again!) done
excellent work. His fantasy landscapes have never looked better than here.

Let's go straight to the reason why my reception for this 63-minute album is rather reserved. The vocalists.
Mark Wilkinson (singing on three tracks) represents the Gabriel/Collins/Fish school of prog singers I have
grown a bit tired of in the contemporary prog, including the earlier Seacrest releases where Wilkinson has
often guested. And Dan Schamber (two tracks, plus one as a backing vocalist), who has written most of the
lyrics here, is in my opinion pretty uninspiring as a vocalist. Technically OK, but his expression is sort of flat.
Without going into track by track analysis, several songs of this album don't truly impress me emotionally. The
best songs, or my personal favourites, are 'In My Life' (originally by Ambrosia?) which is sung by Michael Trew
& Steph Honde, and 'The Only One in the Crowd' sung by Wilkinson.

Of the 11 tracks (all more or less roughly between 5 and 7 minutes), five are instrumentals. They see to have
more variety in moods than the songs. Energetic 'Carrousel', composed by Jean-Pascal Boffo, is focused on
dual electric guitars of Toni Jokinen (aka RIVERYMAN) and Pacha, and is slightly reminiscent of Camel. P]]>�fusion composition 'Things Not Seen' features Risto Salmi on sax and EWI together with Jokinen (g), Jan-Olof
Strandberg (b) and P]]>��P]]>��delicate, slow-tempo piece for flute, classical guitar, double bass and keyboards, the flute dominating.

With another kind of cast for vocal duties (sadly no female voices this time!) I would surely enjoy this well
produced album more. Anyway, this is yet another fine release keeping up the Seacrest's high standards on
both music and the physical package. Easily 4 stars.

STEVE HACKETT Hackett and Rothery: The Roaring Waves (Eclectic Prog, 2026)

Thu, 10 Sep 2026 10:38:34 EST

Review by yarstruly — Copied from my review at my blog, "Scott's Song by Song Spotlights", where there are links for listening and
purchasing.

Clicking 5, but really 4.75, nearly perfect, but not quite!

The artists on today's album require no introduction for most people who will be reading this. Steve Hackett &
Steve Rothery have come together to create an album of instrumental music. Of course, most of you know that
Steve Hackett is best known as the lead guitarist in Genesis from 1971-1977, and has had a prolific solo career since
1975, also collaborating with Steve Howe in 1986 in GTR and Chris Squire in "Squackett" in 2011-12. Steve Rothery
has been the lead guitarist of Marillion on every album in their catalog plus his solo album "Ghosts of Pripyat" in
2014. Both guitarists are highly respected for their guitar skills and compositional abilities.

This album is a decade in the making, with the two coming together when they could at each of their home studios
and a studio called The Racket Club. The theme of the album is "the elemental power of the sea". Finally on August
28, 2026, "The Roaring Waves" will be released on InsideOut Records.

Rounding out the recordings are:

- Steve Hackett / guitar, harmonica

- Steve Rothery / guitar, bass, keyboards

- Riccardo Romano / keyboards, bass

- Daniele Pomo / drums (1-5)

- Leon Parr / drums (6,7)

I want to thank Oliver Bergmann from Oktober Promotions, and Sharon Chevin for directing me to Oliver. 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.

Time to check out the music!

Track 1 - The Storm (6:50)

The track fades in with ocean sounds, then a mellotron string part takes over. A lead guitar melody begins, and a
bolero type of rhythm begins to emerge. At 2:17 there is the sound of thunder, and a guitar riff takes the spotlight.
The drums and bass are tight. This is ominous, of course, as the track depicts a storm out at sea. The guitar solo at
3:40 sounds like Rothery to my ears, but I have no indication of who is playing what. I believe Hackett took over at
around 4:25; but then again, I could be wrong. The guitarists then alternate licks. This is wonderful! At around 6:00
the storm seems to come to an end and things resolve peacefully. Awesome opener!

Track 2 - Sandsend (4:46)

After a note that fades in, there is a calm moderate tempoed rhythm with the guitarists alternating phrases on the
melody. We are in calmer, gently rocking seas now. The synth gets the spotlight briefly at 1:50. This is a nice chill-
out piece of music from these guitar masters. In the last minute or so of the track, however. The musical tension
seems to build up a bit. Still, it stays pretty calm. Nice track!

Track 3 - Red Dragon (4:19)

This has a droning, bagpipe-like quality in the intro. When the rhythm section comes in, the tempo is slightly more
upbeat. I like the use of controlled feedback. One of the players has a sitar-like tone on the arpeggiated tones. I
like the soundscape on this. The tempo double-times at around 2 minutes, briefly. There are a wealth of
interesting tones being utilized. The focus is on the music, not the players' virtuosic abilities. Well done; an
enjoyable track!

Track 4 - The Roaring Waves (7:11)

The title track is up next, and the name promises an exciting ride! Hackett (I assume) starts out with an impressive
classical guitar bit. An ominous crescendo takes us to an orchestrated keyboard part that establishes the backdrop
for the lead guitar. Not sure which one plays what, but I bet it was Steve. Obviously, both players have built a fine
reputation for their abilities. The arrangement on this one is more involved than in the previous tracks. I love the
crescendo at around 5:00. I like how the two are playing countermelodies at around 5:30. The classical guitar
returns to close out this wonderful dynamic track. This one is my favorite, thus far.

Track 5 - K-129 (7:52)

According to the notes I was provided:

Cinematic is right. Songs like the claustrophobic K-129, which details a submarine's

final voyage to the bottom of the seabed, dark waters swirling up around it as its crew

meet their doom.

"You're trying to create an atmosphere", says Rothery.

"I came up with the original sequenced sound, and then it's like painting a picture. You

have the rhythmical and the melodic and atmospheric elements that you try and

construct in such a way to take people on a journey. And it's a fascinating story.

Conspiracy theorists think this Russian submarine that went missing at the end of the

60s was trying to start a war between the States and China and that the captain

scuttled the ship rather than let them start World War III, incredible."

The aforementioned sequence commences the track. Atmospheric guitar tones and occasional drums are
peppered over the top. This one is a slow burn. Of course, there are some sonar sound effects along the way to
evoke the atmosphere of a submarine. At around 4:14 a steady drum groove begins. The guitarists' lead-lines
break some of the musical tension. The rhythm stops before 5:30. A new beat returns just after 6 minutes. The
guitar parts are glorious! The track concludes with a single sonar tone. Terrific track.

Track 6 - The Black Sea (6:41)

According to the notes provided, the (actual) Black Sea is littered with the skeletons of more than 1,000 shipwrecks
over the centuries. That will certainly inform the tone of this piece. It begins with a sense of foreboding. There are
wonderful clean guitar tones intertwining in the first segment over a gentle 6-8 meter. A melody takes over at
around 1:45. The tone of this track is very warm and melodic. There is a sense of forward motion throughout. The
two play together at around 5:00 as the music reaches its climax. Afterwards, there is a peaceful resolution. File
this under hauntingly beautiful. I love it!

Track 7 - Pacific Coast Highway (7:31)

Hackett kicks this one off with a bluesy harmonica riff that would make Huey Lewis smile. This one is a fun driving
tune! There are even some wordless backing vocals. Hackett's harmonica playing is a noteworthy feature of this
track, as Rothery quipped in the info sheet:

"And Steve's harmonica on that is so, so good. He said to me at one point, you know,

sometimes I think I should have been a harmonica player instead of (a) guitar player."

There is still plenty of great guitar playing to be had, though. This one even reminds me, stylistically, of a Joe
Satriani tune. This is the one where they cut loose and have some fun! And we as listeners reap the benefits! I like
the syncopated riff starting around 5:15. They finally let some shredding licks loose at around 6:10. The final
minute of the song has glorious choral music "aahhs". Great ending to a great album.

OVERALL IMPRESSIONS:

I loved it! However, don't expect a proggy flurry of odd-meters and flashy solos. No, this is about the music and
creating sound pictures in a cinematic way. The compositions and arrangements are top notch. The production is
immaculate. If you are looking for an immersive musical experience, this is the album for you! Of course, it's fun to
try to pick out which guitarist is playing what line, it's probably better to forget all of that, and let the music wash
over you. I'm giving this a 4.75 out of 5 stars (95%).

DATURA LODGE Datura Lodge (Heavy Prog, 2026)

Thu, 10 Sep 2026 10:12:04 EST

Review by JavierMiranda — Datura Lodge have arrived with something that feels fully formed, confident, and genuinely exciting to listen to, the kind
of record that makes you want to tell people about it.

The album opens with three tracks, "Mummy", "Stone" and "98 and 94", that flow into each other without a break, and
that decision alone tells you a lot about how this band thinks. It works brilliantly. By the time the suite ends you are
already hooked, pulled in by the atmosphere and the melodic instinct that runs through everything they do. The
arrangements are detailed and rich, with Adam Holzman on keyboards and Ben Karas adding an electrifying violin solo
on "Stone", but the melodies are always front and centre, and they stick.

"Hole" is worth stopping on for a moment. It has that slow-build quality that the best prog tracks share, a patient
emotional arc that keeps growing until the guitar solo arrives and just says everything the words could not. There is a
Pink Floyd shadow over it that feels completely natural rather than imitated.

And then there is "Lodge", which closes the album and is, for me, the best thing on it. It starts with a quiet acoustic
passage that immediately brings Genesis to mind, not in an obvious way, just that same sense of stillness and intention.
From there it builds into something bigger and more modern, but without ever losing the melodic thread. It is a really
moving piece of music.

I have played this album a lot and it keeps giving. One of the best progressive rock records of the year. Five stars.