Reviews (all) - Progarchives.com

MASTERPLAN Metalmorphosis (Prog Related, 2026)

Tue, 27 Oct 2026 17:27:58 EST

Review by arcane-beautiful — Metalmorphosis by Masterplan is a decent enough prog power metal album with some good riffs, but is a far
cry from the songwriting they had when J'rn Lande was their frontman. The German outfit, originally formed as
an offshoot of former Helloween members, have had a decline in releases recently, and for a comeback album
it is more of a whimper than a shout. Vocalist Rick Altzi does show some strengths throughout, but at times his
vocals do come off as forced and pitchy. Overall the music is ok, but it does feel like an Evergrey rip off, with
weaker vocals and cheesier music. While it isn't unlistenable and does show merit, it isn't exactly something that
will stick with you, unlike what they achieved with Aeronautics 22 years ago. I'd give this a mid to high 5 out of
10. The track I'd recommend is Bound To Fall.

MARIUS POPP Nodul Gordian (Jazz Rock/Fusion, 1984)

Tue, 27 Oct 2026 15:59:24 EST

Review by Fercandio46 — With a flamenco flair, highly pronounced percussion, and an even more prominent bassline, Nodul Gordian marks a
step forward, serving not merely as Marius Popp's second album, but as an architectural workshop of sorts where
he explored a different brand of fusion than that of his debut. It is less expansive in scope than Panoramik (the title
already spoke for itself!), yet what he trimmed in sheer breadth, he compensated for with greater depth, to borrow
a metaphor from the field of land surveying. Studying the site for the construction of a new music building, for let
us not forget that Marius's original profession was architecture, where artistic harmony could coexist with
mathematical perfection.

One might compare Negru Pe Alb to the work of Herbie Hancock, yet the artist's personal quest led him to tweak
his keyboards to achieve a unique sound, much like Chick Corea once did. Eugen Tegu's bass playing deserves
special mention; unlike its predecessor, this album functions as an accumulation of distinct elements rather than a
uniform, monolithic mass. Kon-Tiki is more aggressive, featuring a prominent horn section and touches of
dissonance that hint at Latin influences. It also marks a return to the acoustic piano, a clear early demonstration of
his full stature as a pianist, showcasing his touch, his class, and his style, qualities that would be explored even
further later on.

Eugen Tegu continues to shine, in the style of Stanley Clarke, navigating everything from distinctly jazzy grooves to
Bach-like counterpoint. The "limping" rhythm, so characteristic of Romania, sets the stage for "Echinox," a track
where the clarinet takes center stage. One can truly sense the energy Marius felt while finally recording his own
music; surrounded by talented musicians, his ideas were cast like seeds into the wind, spreading out, ready to take
root and grow.

"C]]>�is perfectly synchronized with the piano, supported by the wind instruments, while the bass fills any remaining
space, but that's not all, for there is also room for silence, which truly adds to the piece. Everything in this track is
arranged to perfection, yet it still sounds remarkably fresh. It's as if the music were meticulously composed, but
how to put it... rather than on a musical staff, it's written on a blueprint, and it's definitely a compliment.

The composition "Nodul Gordian" is something special, fittingly, as it is the title track, and its significance stems
from the fact that Marius clearly composed it at the piano, conceiving the instrument as the driving force that
propels the rest of the ensemble. In keeping with the principles of fusion, the electric bass acts like a bearing that
never stops spinning, serving the piano's machinery, a structure further reinforced by the saxophone and its
syncopated solo.

In the style of the greats, Marius crafts a melody toward the end of his solo on the original track "Nodul Gordian,"
which becomes a defining theme for the ]]>�track has its own unique appeal.

"Din Aproape ]]>�that bathes us in peace. Its title means "step by step," and it serves as yet another form of communication, one that
leaves us, upon listening to it, feeling... full.

PALLAS A Song for Tomorrow (Neo-Prog, 2026)

Tue, 27 Oct 2026 13:37:32 EST

Review by yarstruly — Simultaneously posted on my blog (Scott's Song by Song Spotlights) with links for listening and purchasing.

Clicked 5 but really 4.75.

One of the reasons that I started reviewing albums and writing feature stories about prog bands (and occasionally
some from other genres), is to learn more about them. I have said on more than one occasion that I do not claim to
be an expert on anything! Much like the recent reviews I've done for PreHistoric Animals, and IT, I am only casually
familiar with the band responsible for today's album Pallas. I am somewhat familiar with Pallas, and like what I
have heard, but have never seriously delved into their music. Considered one of the first wave of "Neo-prog" bands
that emerged from the UK in the early 80's (Along with Marillion, Pendragon, and IQ) Scottish proggers Pallas have a
long history behind them. Their debut album, "The Sentinel" was released in 1984 followed up by 1986's "The
Wedge". They then took a hiatus for about a decade before re-emerging with 1998's "Beat The Drum". They have
released albums semi-regularly since then, despite another nine-year gap between 2014's "Wearewhoweare" and
2023's "The Messenger". Long time frontman Alan Reed, who joined in 1986 left the band in 2010, but returned in
2023. Interestingly guitarist Niall Mathewson has lived in Cambodia for about a decade. According to a Google
search, Alan Reed describes the project as a conceptual exploration of the human experience underneath modern
headlines, technology, and politics. Sadly, it seems that this is expected to be Pallas' final album as Alan Reed has
been diagnosed with Parkinson's disease as well as the fact that the members of the band live so far from each
other

"A Song for Tomorrow" is the band's ninth studio album, and is set to be released on October 30, 2026. The lineup
for the album is:

- Alan Reed / vocals
- Niall Mathewson / guitars, percussion programming, vocals
- Graeme Murray / bass, Taurus bass pedals, 12-string guitar, vocals
- Ronnie Brown / keyboards, percussion programming, vocals

With:
- Natasha O'Neil / vocals (3)

The album comes to me courtesy of B]]>��hear it and receive no additional compensation. As per my usual method, this is a cold listen.

Time for the tunes!

Track 1 - Reset (4:15)

A warm orchestration starts us off and leads to a quick crescendo after a tympani roll. Power chords and big drum
fills accent the fanfare. This feels like an overture initially, but the vocals soon join in. The rhythm is strong and
steady. The vocal harmonies are pristine. While the drum programming is well-done, it does leave me wanting a
live drummer. Despite that, this is a fantastic opener! Very dramatic and engaging.

Track 2 - Rage (5:40)

A thunderous rumble leads us into another dramatic orchestrated introduction. A high energy piano riff is soon
joined by guitar and bass. I love when the bass drops an octave at 1:30. This is PROG-TASTIC! Wild guitar over the
exciting rhythm. An ascending pattern adds to the energy. Niall's guitar solo is fantastic, with masterful sweep-
picking on display (a very difficult technique for the non-guitarists reading this). Then after the three-minute mark a
new rhythm takes over with sixteenth-notes in the bass. This leads us to a peak followed by a quiet synth and
contemplative vocals; almost like a Gregorian chant. Excellent use of dynamics! Then, an ominous spoken deep
voice says "Rage is at the door", and the piano riff returns. Guitar harmonies are accompanied by the sounds of
chaos? sirens of emergency vehicles, etc. Another ascending pattern seems to take us to a peaceful resolution on a
major chord, until a sound like a gunshot puts the final punctuation on the song. Outstanding track!

Track 3 - A Song for Tomorrow (6:20)

This one fades in with a female voice announcing "This is your final call. Please make your way to departures?" in
what sounds like an airport terminal. Natasha O'Neil's guest vocals start at around the 30-second mark. She sings
with a wistful, almost child-like quality here. In the second verse, Alan Reed joins her an octave below. At around
2:30, an ominous drone enters the soundscape. Things remain gentle as the song progresses. At least until a
percussion rhythm harkens a change at around 4:30 and the music is suddenly louder with a gothic sounding choir
entering. They dramatically sing "This is our song for tomorrow, if tomorrow ever comes". At the conclusion,
Natasha returns to softly sing the line, but without the final word, leaving a sense of foreboding. An amazing piece
of music!

Track 4 - The Private Collector (8:22)

A phone speed-dialing a number leads to a big power-chord led introduction. After a brief respite, the big chords
continue. At around 1:10, a gentle percussion and high register piano lines lead the first verse in, sung in a lower
octave. The music is gradually building as it proceeds. At 4:00 a big power chord leads us into a more steady rock
rhythm. The lyrics tell us:

"I am the collector,
Made by your hand.
You gave me your soul,
I meet your demands"

No, not ominous at all (lol). The song's musical tone matches the darkness of the lyrics. This is another terrific piece
of music!

Track 5 - DIRT (6:10)

The title is in all-caps in the track listing, so I have retained that. This begins with a bit of a "world-music" vibe;
perhaps influenced by Niall's Cambodian surroundings? Reed seems to be singing "in character" on this one. There
are some nice call and response vocals between the solo lead lines and harmonized backing vocals. The song is in a
moderately slow minor key, continuing the ominous tone of the album. The guitar solo hits at the 4:00 mark, and is
expertly played. Great track, but not my favorite thus far.

Track 6 - Aspirations (6:30)

Peaceful synth lines start us off here. An arpeggiated acoustic guitar enters to usher in the vocals. The lyrics
describe "happy, smiling people", yet there is a sense of sadness. The synth line between verses has a science-
fiction quality to it. I suppose there is a little hopefulness in the song as the "Happy, smiling people begin to climb
again" even after their past aspirations have failed. At around 3:30 Niall plays a hauntingly beautiful acoustic guitar
solo. There is a big crescendo at around 5:20 and the music continues to develop instrumentally. It is an engaging
soundscape they are creating, for sure.

Track 7 - Rushing Headlong (4:32)

A shimmering synth brings us into this one, then an odd-metered guitar riff gets us rockin' hard! This is bringing a
much-needed burst of energy! The lyrics tell of people:

"Rushing headlong into no future,
Lemmings racing for the highest cliff.
The blind lead the blind and the deaf lead the deaf,
And the dumb-ass politicians never run out of breath"

Perhaps a jab at the MAGA movement? I'll let you draw your own conclusions as this blog is about music, not
politics! Well, the music certainly is a change of pace and very energetic! The instrumental break around 2:50 is
fantastic. The drumbeat after the chorus returns is more syncopated. That rocked hard! Possibly my personal
favorite to this point in the proceedings.

Track 8 - The Avenue of Broken Dreams (7:06)

While most of us are likely familiar with the similarly named "Boulevard of Broken Dreams", I suspect that is where
the similarities end. It begins with a low, slowly pulsing drone on the synth accompanied by a few high-pitched
tones. The vocals enter with lots of echo, as if we are hearing someone's inner thoughts. At around 2:35, the music
becomes more rhythmic. This is another dark song. The lyrics ask us "Is this heaven, or is this hell?". The music is
executed wonderfully. There are beautiful melodies and great playing throughout. A wonderfully executed track!

Track 9 - Mother (4:50)

Another familiar title, but a song of its own. Eerie keyboards and chimes start us off. The singer wonders "Mother,
where did you go?". At 1:25 a guitar chord accents the music. He has a lot of pain that he is trying to resolve, here.
This one is hauntingly beautiful, somewhat in the vein of "Space-Dye Vest" by Dream Theater.

Track 10 - Inside Outside (9:10)

I'd say this counts as a closing epic! A piano line starts this off. The synth plays an almost trumpet like line. The
gothic choir returns. The verses and choruses are set against a more delicate accompaniment. I get the impression
of a widow missing her late husband and going through the motions of life. There is a big crescendo at around 3:40
and the song becomes rhythmic for a guitar feature. The song gets heavier with chugging power chords
accompanying the next verse. There are amazing layered vocals. At around 6:15 we have some tubular bells
chiming like a clock. This song is musically exquisite! This is definitely the flagship track of the album. The lyrics
might not be uplifting, but the music is incredible. Awesome track!

OVERALL IMPRESSIONS:

As I noted in the introduction of the review, I am not as familiar with Pallas as maybe I ought to be, but count me
impressed, especially from a musical standpoint. This is clearly an artistic achievement! However, for me,
personally, it would be a difficult one to listen to on a regular basis, as the majority of the album is very dark in its
subject. I was really glad for the energy lift of "Rushing Headlong". I would be remiss to not mention the amazing
images by Mike Bently. Each song has its own unique image and it is stunningly good. I know that some may say
this is the album of the year, and I have no issue with that! However for me, I'll give it a 4.75 out of 5 stars or 95%.
It's just a bit too dark for me to give it the full 5 star 100% rating.

ELDER Through Zero (Heavy Prog, 2026)

Tue, 27 Oct 2026 11:28:40 EST

Review by A Crimson Mellotron — In their twenty-year existence, Elder have experienced something of a metamorphosis, in the sense
that their early fuzz-infused, stoner rock sequences have evolved into vivid soundscapes of textured
and enthralling heavy psych rock. The Massachusetts band has relocated to Germany over the course of
their career, which is where their seventh studio album 'Through Zero' has been recorded in-between
tours. This bold and immersive record feels like a direct continuation of 'Innate Passage', drawing
from an even broader array of influences than its predecessor, and resulting in one of Elder's most
immediate and unified works. To me, 'Through Zero' feels like a hypnotizing, dream-like affair that
impresses with a breadth of reverberating heavy riffs and gently ebbing rhythm sections. The six
lengthy pieces that appear on the album encompass everything from prog, to doom and psychedelic
rock, seeing Elder undertake an exciting sonic journey through atmospheric guitar-synth passages and
proggy riffing.

And while the pacing on 'Through Zero' may challenge the listeners expecting something dynamic and
bursting, it is the musicianship that elevates the album and renders it yet another impressive
offering from the Nick DiSalvo-led quartet. Here the band experiment more extensively with
synthesizers, electronic effects, and Rhodes pianos, adding a spacey, almost symphonic dimension to
the overall sound that complements the swirling guitars quite nicely. Elder begin to warp universes
straight away with the opening track 'Sigil to Ruin' - a sprawling piece that develops in an almost
post-rock-ish manner. This composition evidently pushes their heavy psych progression further, while
offering a beautifully melodic amalgamation of ideas and themes. The prevalence of electronic
soundscapes is more ostensible in the opening sequence of 'Capture/Release', which soon transforms
into one of the album's most upbeat tracks, only to be followed by the exquisite title track - the
song where DiSalvo's progressive riffing shines through and through.

The second triplet of songs feels more fluid and experimental, with the band abandoning the rulebook
and descending into an immersive exploration of swiveling rock soundscapes with airy rhythms and
tasteful grooves. The 11-minute opus 'Strata' resembles a psyched-up version of Baroness or
Mastodon, and its deceivingly calm intro soon evolves into a full-blown heavy prog carousel of
staggering sounds. Perhaps the most consistently hypnotizing composition on 'Through Zero' is the
instrumental fifth track 'Sight Unseen', which to me captures Elder at their peak. Its meditative
build-up resembles the playfully trippy music of Ozric Tentacles and Gong, while preserving the
tonal direction of the album and its technical character. Closing number 'Blighted Age' is a short
and moody vocal-centered piece that echoes the smooth atmosphere of the preceding compositions.
Overall, this album represents a bold step forward for the band, and even if it offers some familiar
sounds, the structure and the consistency of 'Through Zero' depict Elder as one of the most exciting
progressive-thinking rock bands of our time.

POLYPHIA Be Not Afraid (Post Rock/Math rock, 2026)

Tue, 27 Oct 2026 08:55:09 EST

Review by hazelmullins — This is my first review on this site, but I have been lurking for many years reading other reviews as I seek to discover
new bands and expand my collection. I don't consider myself to be progressive music snob and in fact I like a wide
range of music from Classical to Hip-Hop. However, I find myself seemingly drawn to the intricacies of prog more and
more. Polyphia happens to be the current artist I am exploring and unfortunately I started with their latest release. I
am all for modern prog styles and interpretations, and a highly polished/ produced album in itself doesn't bother me
at all. Unfortunately this album destroys any sense of artistic creativity by applying extremely over distorted bass and
lack of dynamic range and essentially just throwing noise at you. It might be something you hear at a rave, but
certainly not something you would seek out and care to listen to more than once. On tracks like #2 "With Eyes To See"
and #7 "Can You Feel It" they sound more like a DJ mix than an individually recorded track. Had it not been for the
obscene bass, there are moments through the rest of the tracks that might be enjoyable, but due to the poor
production I have no desire to give them a more thorough dissection.

OPETH Watershed (Tech/Extreme Prog Metal, 2008)

Tue, 27 Oct 2026 08:12:31 EST

Review by Hector Enrique — Over the years, the death metal of Opeth's early days became increasingly intertwined with the sounds characteristic of
1970s progressive rock, incorporating instruments emblematic of that tradition and exploring complex and dynamic
compositional structures. This unique blend of seemingly opposing worlds finds one of its most representative
expressions in "Watershed" (2008), the Swedish band's ninth album.

Preceded by the excellent "Ghost Reveries" (2005), "Watershed" arrived at a turning point for the band. On the one hand,
it marks the debut of Fredrik ]]>��had been instrumental on some of their most iconic albums. On the other hand, it finds ]]>�musical exploration that oscillates between dreamlike melodies and atmospheres and passages of extreme heaviness,
pushing the boundaries of his unique musical vision.

Thus, echoes of the gentle "Damnation" (2003) surface in the pastoral and intimate folk of "Coil", which features Nathalie
Lorichs's female vocals in a delicate duet with ]]>�mellotrons and Hammond organs lend a distinct 1970s flavour, whilst an expressive guitar solo by ]]>�Gilmour-esque melodic phrasing. At the opposite end of the spectrum, the ferocity of death metal comes to the fore in
the dense "Heir Apparent", in the rhythmic and experimental contrasts of "The Lotus Eater" and in the elaborate
development of "Hessian Peel", tracks driven by ]]>�reinforcing the album's sombre and progressive atmosphere.

"Watershed" also explores the oppressive and hypnotic realms of doom metal with "Porcelain Heart", which combines
heavy riffs and an ominous cadence reminiscent of Black Sabbath, and with the closing track "Hex Omega", which builds a
dense and expansive mood evoking the tectonic sound of the cerebral Tool.

Whilst failing to match the cohesion or impact of classics such as "Still Life" (1999) or "Blackwater Park" (2001),
"Watershed" is a solid work that portrays Opeth in the midst of a transition: a band that retains the aggression and
contrasts that defined their most extreme phase, but which delves deeper into an increasingly elaborate progressive
sensibility.

3.5 stars

LIGHTHOUSE SPARROWS Sacred Loops (Neo-Prog, 2026)

Tue, 27 Oct 2026 06:34:22 EST

Review by Matti — The Finnish studio project Lighthouse Sparrows debuted in 2020 with a 30-minute EP The Deep End, and
actually the majority of their releases have been EP's and digital singles. Now the creative duo of Sami Sarhamaa
(vocals, guitar, bass, programming) and Olli Huhtanen (vocals, keyboards) have finally made the second full-length
album. Upon my first listening I was convinced that the 61-minute Sacred Loops is their finest achievement
this far, and subsequent listenings confirm that opinion.

Basically things haven't much changed, they found their style early on and have stayed pretty loyal to it. Or perhaps
the earliest stuff was slightly lighter and more melodic -- comparable to Sarhamaa's earlier project KATAYA and the
other crossover prog bands, PAX ROMANA and SUNHILLOW, of Sami's ex- Kataya mate Matti Kervinen -- than the
more recent output, which strongly resembles some PORCUPINE TREE / STEVEN WILSON stuff, mainly for the dark
and a little depressed & estranged mood.

I said in my review for the EP Dark Matter (alpha) (2024) that "less of that depressed mood would be most
welcome". The two song-writers definitely didn't take advice of my wish, instead they only dive deeper into the
pessimistic view of the world we live in nowadays -- indeed the world seems to go crazier all the time, so I'm not to
blame them. But somehow I can now better relate to the sadness and gloominess in LS's music than before. I think
a crucial factor are the voice samples of philosophers Hannah Arendt and Henri Bergson (taken from their lectures,
I presume) used here and there. They effectively nail the intelligent and thoughtful impression of the album.

Sarhamaa and Huhtanen are highly gifted studio musicians/producers, and that shows in the detailed soundscape.
Songs such as 'Time's Up' just wrap the listener into their multi-levelled aural world, like the finest, sad, classic era
Moody Blues songs did. In comparison LS naturally sounds very modern and different, but hopefully you get my
point. I could live without some treating of the vocals on 'Remember/Forget' for example, and occasionally the
sounds are heavier than I'd personally prefer, but admittedly that's in line with the gloomy substance. Very
importantly there is enough SPACE, spatiality, throughout the album to save it from weighing too heavy on one's
shoulders.

I won't go into a song-by-song analysis. All nine pieces (of the average 6+ minute length) function well, both on their
own and as the part of the dynamic whole. It was a perfect decision to have one instrumental also: the gorgeous,
slightly Floydian 'Spacetime' is placed as the second last track. The final piece 'Endless Loop' is the longest at nine
minutes. I'm not keen on some of the sharpest synth sounds in it but the song's arch feels marvelous. There are
terrific soli for keys and electric guitar on several songs.

We need both light-hearted/uplifting AND dark-minded music in these troubled times, and this album is a strong
item for the latter.

ARCTIC PLANT Absolute Power (Progressive Metal, 2026)

Tue, 27 Oct 2026 04:43:49 EST

Review by Smurfreviews — Review #12

A dystopian concept album by a talented multi-instrumentalist

Now that music production?as an individual project using recording software and sophisticated recording
technology?can be carried out by far more people in a home setting than was possible in the past, this trend
has brought visibility to many talented musicians who can share their musical visions with the world.
Philipp Rexilius, alias "Arctic Plant," is an impressive multi-instrumentalist who has masterfully embraced this
participatory approach to music production.

With "Absolute Power," he is releasing his fourth solo album this year?an album that is practically begging to
be discovered by curious prog fans. For in just under 70 minutes, the listener is drawn into the story of a
dystopian concept album that deals with the dangers of unchecked artificial intelligence and humanity's loss of
independent thought. In doing so, Rexilius very skillfully incorporates the full range of expected progressive
rock concept elements into his music: dynamic shifts, emotional textures, instrumental outbursts, classical
harmonies and orchestral colors, film-score-like drama, theatrical vocal performances?including spoken
word, vocoders, and choirs?nested compositions with a clearly recognizable structure, and, of course, a
gripping story.

The eight tracks on the album range in length from 3:30 to 20:30 minutes and combine musical creativity (the
booklet even mentions the use of specific musical themes?cool!) with technical instrumental skill, all framed
by a clean, powerful, and flawless production. The listening experience is further enhanced by beautiful cover
art by Heike Birkenbusch.

As a multi-instrumentalist, Rexilius plays all the instruments himself?a feat he accomplishes superbly given
the album's high artistic standards. I find the drum parts particularly appealing; they're always tailored to the
needs of each song and never seem out of place.
To bring the rock opera's multi-character concept to life, Rexilius enlisted three guest vocalists; among them,
singer Ewa Wieczorek particularly stands out in her role as the rebel, enriching the music with yet another
facet.

In the end, I can only highly recommend this impressive work and hope that Arctic Plant will consistently
continue on this path and receive the long-overdue recognition it deserves from the prog scene!

4.5 Stars ****(*)

QUEEN The Singles Collection Volume 3 (Prog Related, 2010)

Tue, 27 Oct 2026 04:43:39 EST

Review by VianaProghead — Review N]]>�
"The Singles Collection Volume 3" is a compilation album of Queen that was released in 2010. It has tracks from
three studio albums of the band. So, it has six tracks from their eleventh album "The Works" released in 1984, nine
tracks from their twelfth album "A Kind Of Magic" released in 1986 and four tracks from their thirteenth album "The
Miracle" released in 1989. It has eight non-album's tracks, tracks previously unreleased on any of these three studio
albums.

"The Singles Collection Volume 3" has twenty-seven tracks. So, from "The Works" we have "It's A Hard Life", "Is This
The World We Created?", "Hammer To Fall", "Tear It Up", "Man On The Prowl" and "Keep Passing The Open
Windows". "It's A Hard Life" is a great song with a simple structure and a beautiful melody. It's a song closer to the
earlier Queen's sound. "Is This The World We Created?" is a nice acoustic ballad composed only for the acoustic
guitar of May and the voice of Mercury. "Hammer To Fall" harks back to Queen's old sound. It's build around a hard
and muscular guitar riff. This is an edited version. "Tear It Up" is a hard roch song in the same vein of some of the
older songs of the band. It's a typical May's song, a nice good rock song pleasant to hear. "Man On The Prowl" is a
song that sounds closer to the rock of the 50's. This is another song written by Mercury as a tribute to Elvis. "Keep
Passing The Open Windows" is a good song with a simple structure, a beautiful melody and a nice piano work. From
"A Kind Of Magic" we have "One Vision", "A Kind Of Magic", "Friends Will Be Friends", "Princes Of The Universe", "Pain
Is So Close To Pleasure", "Don't Lose Your Head", "Who Wants To Live Forever", "One Year Of Love" and "Gimme The
Prize (Kurgens Theme)". "One Vision" is a well known song with mysterious distorted vocals in the beginning. It's a
good pop rock song powerful and pleasant to hear. This is the single version. "A Kind Of Magic" is a good pop song
as "One Vision". It's also pleasant and nice to hear. "Friends Will Be Friends" is a beautiful song with good lyrics and
that became as one of the most well known Queen's songs. "Princes Of The Universe" is a short good rock song. It's
one of the highlights on "A Kind Of Magic" that brings to our memory the good old Queen's days. "Pain Is So Close
To Pleasure" is one of the weakest tracks on "A Kind Of Magic". It isn't even a decent song with Mercury singing in
the Bee Gees' style. This is a remixed version. "Don't Lose Your Head", despite has some nice keyboard parts, is a
weak song. It's with "Pain Is So Close To Pleasure" the two worst songs on "A Kind Of Magic". "Who Wants To Live
Forever" is one of the most emotional ballads of Queen. It's one of the best and most beautiful moments on "A Kind
Of Magic". "One Year Of Love" is a nice and calm slow ballad with a beautiful saxophone solo work and great string
orchestral arrangements. "Gimme The Prize (Kurgens Theme)" is a strong rock song. It's the hardest and most
oriented guitar song on "A Kind Of Magic". From "The Miracle" we have "I Want It All", "Breakthru", "The Invisible
Man" and "Scandal". "I Want It All" is a great rock song full of mood changes and some nice guitar solos. It's a kind of
a classic Queen's hard rock song that satisfies almost all rock fans. This is the single version. "Breakthru" is a good
rock song with a beautiful gospel vocal overture, which rocks very fast. It's one of the best moments on "The
Miracle". "The Invisible Man" is a pop song with a synthesizer bass driven. It's a fast song very repetitive, which is so
typical of that pop era. "Scandal" is a great and brilliant dark song with some great moments. It's one of the
highlights on "The Miracle". The eight non-album's tracks are "Thank God It's Christmas", "Blurred Vision", "A Dozen
Red Roses For My Darling", "Forever", "Hang On In There", "Stealin'", "Hijack My Heart" and "My Life Has Been Saved".
"Thank God It's Christmas" doesn't appeared on a Queen's album. It was released as a Christmas single at the time
of "The Works". Latter it was the B side of their single "A Winter's Tale". "Blurred Vision" wasn't released on "A Kind
Of Magic". It was the B side of their single "One Vision". "A Dozen Red Roses For My Darling" wasn't released on "A
Kind Of Magic". It was the B side of their UK single "One Vision". "Forever" is a piano version of "Who Wants To Live
Forever". "Hang On In There" wasn't released on "The Miracle". It was the B side of their single "I Want It All".
"Stealin'" wasn't released on "The Miracle". It was the B side of their single "Breakthru". "Hijack My Heart" wasn't
released on "The Miracle". It was the B side of their single "The Invisible Man". "My Life Has Been Saved" wasn't
released on "The Miracle". It was the B side of their single "Scandal".

Conclusion: "The Singles Collection Volume 3" is simply the third part of the compilations of Queen dedicated to
their singles all over their career. If the first one was dedicated to their first seven studio albums and the second
one to their following four studio albums, this third one pursued its path with singles that were taken for three
studio albums of the band, "The Works", "A Kind Of Magic" and "The Miracle". As we know, these three albums don't
belong to their most progressive phase but they aren't the weakest works of Queen either. It has some of their
most known songs. Since we are on a prog site, we can't consider the compilation album as a good one. So, giving it
2 stars is the fair thing to do.

Prog is my Ferrari. Jem Godfrey (Frost*)

MARIUS POPP Panoramic JazzRock (Jazz Rock/Fusion, 1977)

Tue, 27 Oct 2026 02:57:56 EST

Review by Fercandio46 — There is a film by director Lars von Trier titled Dancer in the Dark, starring Bj]]>�numbers and scenes unfold in a progression that mirrors the evolution of the musical genre itself. It begins with
more traditional, old-fashioned numbers and concludes with contemporary, unconventional ones; in this way, the
entire history and trajectory of the musical are encapsulated within a single film.

Now...that film was released in the year 2000, yet, back in 1977, the Romanian pianist Marius Popp created an epic
work that explored this same progression in reverse, focusing on contemporary fusion. "That" is what I call
revolutionary.

Peisaj sets the pace right away with a sinuous opening, a melody with an almost Arabic feel, until Marius, whose
background was in traditional jazz, began laying the foundations, perhaps influenced by his profession as an
architect, starting from the point where the ground was firmest: the present.
A modern, hazy rhythm, reminiscent of acid jazz and psychedelia, features a horn section of two saxophones, a
trumpet, and a trombone. Rather than operating like a traditional big band, the instruments take turns providing
accompaniment, ensuring the sound never becomes saturated or overloaded. This is the source of the music's
lightness and ethereal quality. Once Marius joins in on electric keyboard, everything finally falls into a seamless
flow.
Let's not forget that this is the strange story of someone who spent his entire life playing traditional jazz; by the
time he was finally able to record, things had changed so much, a different wind was blowing, sweeping him along
with it and, judging by what one hears on Panoramic JazzRock , sending him soaring.

While the guitar plays through wah-wah pedals and a soprano saxophone hits high notes, the rest of the
instrumentation stays in the lower register. The composition moves forward, slow, heavy, and steady, while the
keyboard provides the momentum; its architect applies a mathematical precision exactly where it matters most,
avoiding any unnecessary excess, all while infusing the music with genuine feeling, a delicate touch, and sensitivity.
"Trifoiul Cu Cinci Foi" turns off the lava lamps, feeling more organic, more visceral. It features a traditional jazz-style
guitar solo set to a waltz-like drum rhythm, until Marius joins in on electric piano, evoking Ray Manzarek, as the
guitarist's solo continues, eventually giving way to the funk-driven "Simboluri," which sweeps everything along in its
wake. Like the sharp, sudden strikes of a wild animal, the orchestra and the guitar rebel, constantly pulling back
into place, until a plateau emerges across the sonic landscape, tinged with the flavor of Maceo Parker.

Inscriptie brings a sense of calm and a certain reminiscence of that highly romantic atmosphere found in television
soap operas, where the plots might have been old-fashioned or corny, yet the music was modern (it was the 70s,
after all!). It was romantic, but in a way that respected our intelligence. And in that very moment, a Singer, Aurora
Andronache, emerges; without using words, much like Annie Haslam of the band Renaissance, she accompanies
the dreamlike melody.

"Crestaturi In Lemn" is a deeply felt piano solo that could have been composed by Charles Chaplin, might fit into a
Woody Allen film, and could well belong to the 1940s. It rounds off this sonic journey through the very foundations
of jazz, tracing a path from fusion back to the genre's original roots, while its emotional resonance remains entirely
intact.

DAVID BOWIE Blackstar (Prog Related, 2016)

Mon, 26 Oct 2026 22:26:35 EST

Review by Logan — David Bowie's Blackstar serves as the culmination of not just a career, but a life. Created during terminal illness, the album exhibits a resilience that confronts mortality without defeat. It stands as a definitive final statement within art rock, where the tragic reality of his physical decline coexists with his musical evolution. The album acts as a summary of his entire artistic journey, drawing on the distinct textures of his past -- from the acoustic whimsy of the late 1960s and the aggressive art-rock of his Berlin period, to nineties industrial friction and the mature reflections of Heathen and The Next Day -- to reshape them into a final, unified statement. This terminal condition deepens the work, creating a human and deeply vital record that evokes profound grief while remaining fiercely life-affirming. The emotional core exhibits how a life's journey transformed the art.

Listening through the record is less about witnessing a departure and more about experiencing a complete life cycle. The structural choices across the album reflect a man reviewing his own past work, using his past musical identities not as simple nostalgia, but as tools to navigate his current reality. By balancing a heavy, looming finality with a persistent sense of play and exploration, the music avoids becoming a grim dirge, carrying instead a quality of stoic joy.

"Blackstar" opens with an unsettled, minor-key rhythm and low woodwinds, giving it a heavy atmosphere of occult paranoia. The lyrics centre on a dark ritual in the town of Ormen, where a dead astronaut's jewelled skull is recovered to make way for a new, nameless figure. But this opening structure splinters and dissolves into a soaring melody for the line "Something happened on the day he died," dropping into a funky groove where he asserts, "I'm a blackstar, way up, on money,
I've got game." This unexpected warmth holds a joyous space before the music shifts back to the
opening motif.

"'Tis a Pity She Was a Whore" has a breathless pace driven by live acoustic drumming. The saxophone
lines echo the sharp, staccato accents of the rhythm section, creating a tight unison. Lyrically,
the track pulls from seventeenth-century tragedy to explore themes of violence and vanity, using a
blunt vocal style that connects to the ragged, industrial rhythms of his nineties work. The
abrasive delivery of lines like "Man, she punched me like a dude" underscores this energy, shaping a
harsh, chaotic performance.

"Lazarus" acts as a theatrical monologue on physical confinement and impending liberation. The
music has a slow, heavy bassline and a bleak post-punk guitar line that mirrors his late-seventies
Berlin period. The opening declaration -- "Look up here, I'm in heaven" -- sets up a detached poise
that confronts bodily decline directly. The vocal delivery carries an echo of "Sweet Thing" from
Diamond Dogs, connecting his terminal condition directly to his mid-seventies peak.

"Sue (Or in a Season of Crime)" invokes a sense of madness in the face of death. Its bleak
narrative has a ragged rhythm, making the experience visceral. The dark desperation of the line
"Endless faith in hopeless deeds" is a phrase that echoes the sense of psychological collapse
exhibited through the music itself. This provides a sharp structural contrast to the vulnerability
of "Lazarus."

"Girl Loves Me" has a stark, echoing drum beat that leaves the vocals prominent in a hollow space.
The lyrics use an abrasive, invented vocabulary of Nadsat and Polari slang to map out a
disorienting sense of slipping time -- centred around the repeating question "Where the [%*!#] did
Monday go?" This line delivers a gritty confusion that draws entirely on his mid-nineties
industrial work with Trent Reznor rather than fitting under a generic art-rock label.

"Dollar Days" features a sadly nostalgic sound, carrying a melodic atmosphere similar to Nick
Drake's "River Man." The arrangement has warm strings and fluid acoustic guitar, softening the
earlier abrasive edges. The recurring realization -- "I'm dying to" -- stands out as a quiet
confession against the smooth orchestration. Lyrically, the song processes memory, landscape, and
departure, with the horn lines wandering loose through the melody before the final track.

"I Can't Give Everything Away" sets a buoyant, life-affirming rhythm against a guarded set of
lyrics. The track opens on a familiar harmonica loop from "A New Career in a New Town," linking
this final piece to that 1977 Berlin atmosphere. Lines like "Seeing more and feeling less" carry a
distinct defiance, showing a man pushing back against the grain even as things draw to a close.

But after the music has finished playing, that resistance stops. The final fade leaves a sense of
quiet resignation and a fading light, moving past the defiance into a frail, personal grace that
accepts the inevitable end.

THE TANGENT Was (Eclectic Prog, 2026)

Mon, 26 Oct 2026 18:39:37 EST

Review by NEXUS_2112 — "Was" has just released last month and it's already easily my favorite The Tangent album. From begging to end, every
composition in this album is remarkable (some more than others, but I'll get, to that in a bit). I won't lie, when I saw the
words "most ambitious" together with the length of this album I was a bit scared that this was gonna be one of those
double disc albums where there are two really good epics, but half of the album just feels like filler, like a lot of The
Flower Kings records. What really made the decision to listen to this was, first the good reception on this site and second
a video by The Prog Corner saying this album was good. And what a good album it Was!

The album already begins with an insanely strong start with the title track, easily one of if not the best epic of the year. It
goes from very emotional (orchestral?) parts to some butt rock sections, and it all flows so well! People usually [&*!#] on
Andy's vocals, but besides one of the butt rock sections, I'm really a fan of his vocals on this track, especially in the
chorus. I won't talk much about lyrics, but this song is (very obviously) about 60s and 70s rock nostalgia with some other
themes from that era thrown in and it's kind of connected with the 3rd track "Was Not". In summary, amazing track.

The second song though, is my least favorite one. It's kind of an almost poppy shorter track, which is still pretty good, but
I'm listening to this song way less than the others. I guess it's a nice little more unserious interlude between 'Was" and
"Was Not" kind of similar something like "The Hare That Lost His Spectacles", but I skip this quite a lot when I'm focusing
more in listening to the other 2 songs in disc one and basically only listen to it in isolation.

Then we get to my favorite part of the album, "Was Not" is a more personal and calm epic with some cool
instrumentation, which I'm a big fan of. Longer into the song, it has some higher dynamics, but it mainly continues very
much calm before going into a classic avant-garde The Tangent section and finishing in an elegant manner.

Then, we finally get to CD2. It is divided into 6 songs, but it is a single instrumental suite called "La Suite Ce qu']]>�be totally honest I'm not nearly as familiar with the second CD as I am with the first, so I don't have that much stuff to talk
about besides it being a very nice instrumental suite. It all The Tangent has to offer, emotional parts, heavy parts, avant-
garde parts and a lot of 70s worship. Overall, very good, but I'm still getting familiar with it.

ENCHANT Break (Heavy Prog, 1998)

Mon, 26 Oct 2026 16:38:53 EST

Review by martindavey87 — Released in 1998, 'Break' is the forth studio album by American progressive rock band Enchant. I feel the band struggled
to really gain their footing after an incredible debut, with their next two albums being fairly lacklustre, offering only a
couple of decent songs on each disc. So I'm happy to say that with 'Break', it sounds like the Californian quintet are finally
getting back on track, with an album that finally lives up to their debut outing.

Everything about this album rights the wrongs of the previous two releases. The writing is a lot more inspired, and the
production sounds much more polished than before. With some of the songs from previous releases sounding almost
like glorified demos. Vocalist Ted Leonard (one of the best singers in the world, in my opinion) has really come out of his
shell here, blasting out some fantastic vocal lines that, again, sound much more inspired than before.

And in all fairness, it's not just Leonard who seems to have upped his game, the whole band are sounding so much better
as a single unit. The chemistry between everyone, though especially guitarist Douglas Ott and keyboardist Michael
Geimer, makes everything sound so fresh and exciting. There's a strong emphasis on solid writing and catchy melodies,
while still maintaining many of the traits that make progressive rock what it is.

With highlights including 'My Enemy', 'Silence', 'The Lizard', 'King', and the title track itself, 'Break' is a worthy addition to
any prog collection, and hopefully stands as a fresh start for Enchant.

PETER HAMMILL Loops and Reels (Eclectic Prog, 1983)

Mon, 26 Oct 2026 13:29:19 EST

Review by Warthur — This is an experimental release in several senses - in its original incarnation as a cassette
release, it was one of Hammill's first flirtation with independently self-releasing his music (which
is why it isn't on the big boxed set of his Charisma and Virgin albums that came out a while back),
and in terms of its contents it finds his vocals set against a much more ambient backing than we're
used to hearing from him. Is this at all typical of his work? No. Is it genuinely experimental in
the way we hope our prog heroes will always be? Oh, absolutely. Listen with an open mind.

TONY WILLIAMS The Tony Williams Lifetime: Emergency! (Jazz Rock/Fusion, 1969)

Mon, 26 Oct 2026 13:18:46 EST

Review by Warthur — In the late 1960s and early 1970s, fusion was a destination arrived at from two different routes -
either you were a rock band of an experimental bent which decided to put massive amounts of jazz
into your sound (as happened with Soft Machine and the Mothers of Invention), or you were a jazz
performer who got some like-minded souls together in order to rock out. Along with Miles Davis' In a
Silent Way from the same year, the Tony Williams Lifetime's emergency forms the primordial soup of
this approach.

Less subdued and proto-ambient than Davis' effort, this largely consists of the trio of Williams on
drums, John McLaughlin on guitar, and Larry Young on organ playing in a recognisably jazz mode, but
doing so as rocktastically as they possibly can. Rudimentary? Yes, but the first sketches of a new
idea often are, and you can draw a direct line from McLaughlin's performance here to the style of
the Mahavishnu Orchestra.

PREHISTORIC ANIMALS Magic Love Destruction (Heavy Prog, 2026)

Mon, 26 Oct 2026 09:21:08 EST

Review by yarstruly — Simultaneously posted to my blog (Scott's Song by Song Spotlights) with links for listening and buying.

Clicked 4, but a bit better at 4.25 stars (85%)

As I often say, I make no claims to be an expert on anything! PreHistoric Animals are a band that I am somewhat
familiar with, having had their first three albums in my streaming library for some time and enjoying many tracks
from them. I've never, however, taken a deep dive into them, until now. It comes down to "so many albums, so
little time". But now it IS time to dive into the heavy proggers' 5th studio album "Magic Love Destruction".

PreHistoric Animals was first formed in 2018 by drummer Samuel Granath and guitarist/vocalist/producer Stefan
Altzar in Sweden. They released their first album "Consider It a Work of Art" that same year. By the time they
released their second album in 2020, "The Magical Mystery Machine (Part One)", they had added bassist Noah
Magnusson and former Pain of Salvation guitarist Daniel Magdic. That line-up remained in place for the third
album "The Magical Mystery Machine (Part Two)", in 2022 and 2024's "Finding Love in Strange Places". For this
album, they were joined by keyboardist Mats Nilsson. The album is set to be released on October 29, 2026.

The album was provided courtesy of Anne-Claire Rallo of Bad Dog Promotions, and as always, I am free to call it like
I hear it and receive no additional compensation. As per my usual method, this is a cold listen.

Track 1 - Do I Really Know You? (4:21)

It begins with a heavy syncopated riff. The keys soften it slightly as they enter. The vocals enter with an effect on
them. This rocks hard! Granath has some nice drum fills along the way. I'd like the vocals to be just a little more up
front, but they aren't too far back. A cool guitar solo begins at 2:40, as the band goes into a half time feel. A chorus
follows. There is another half-time part near the end. Good heavy track!

Track 2 - Sleeping in the Fire (4:26)

This one has a faster tempo at the start. After an energetic opening, a sustained chord leads to a keyboard riff. The
rest of the band joins into the riff before the first verse. The drums are energetic in the verse. The chorus goes
more half-time. I like the instrumental breakdown after the second chorus. There is some tight, precision playing.
The vocals are a bit more up front on this one. A cool track.

Track 3 - The Wedding Singer (6:22)

An energetic strummed acoustic guitar pattern joined by subtle keyboards starts this off. The verse is sung in tight
harmony. The drums lead the band in at 40 seconds with a heavy riff. The harmonies return with full
accompaniment this time. At around 2 minutes the vocals turn solo with heaviness from the band. The heaviness
eases off at around 2:25 with a highly syncopated polyrhythmic accompaniment. I really like the contrasting
heavier/lighter sections. This is probably my favorite track, so far. Killer track!

Track 4 - The Order of the Universe (And Everywhere Else, Too) (5:04)

A heavy guitar riff kicks this off; the band soon joins and there is an odd meter feel to it. The vocals, in two-part
harmony, have a touch of an "emo/pop-punk diphthong/accent" to it, although the music itself does not feel emo or
pop-punk; an interesting choice. The emo accent disappears in the big chorus. Much like in track 1, the vocals
could be mixed slightly more in front. The accent seems reserved for the verses. The soundscape on this song is
big and heavy. Magdic plays a killer solo in this one. Following the solo, there is a bit of a "breakdown" section with
some tight, precision, heavy riffing. This is a very cool track with a lot to unpack!

Track 5 - Stupidity for Beginners (4:30)

Odd-meter heavy riffage commences this one. The soundscape is very dense. The vocals are a little far back to my
ears again. This is probably the heaviest track so far. Killer drum fill at around the 2-minute mark from Granath.
There is a halftime bridge around 2:45. There are some nice background "ahhs". This one is sort of chaotic to me.
However, near the end there is a breakdown with a funky riff that is a nice change. Good track, well-done, but I am
not sure how I feel about it yet.

Track 6 - It's Not a Good Day to Die (6:28)

This fades in with sustained keys, joined by a clean arpeggiated guitar riff, then the rhythm section with a complex,
odd-metered riff. The vocals join in cleanly. The chorus sees harmony vocals and handclaps subbing for the rhythm
section; a nice contrast. Altzar's vocals here occasionally remind me of Matthew Bellamy from Muse in the way he
switches between full-voice and falsetto. On the next chorus, the rhythm section stays in with heavy guitar joining.
At around 4:30 there is a cool instrumental section with awesome riffs and drumming. A smokin' guitar solo
follows. The coda section that follows seems to be building in intensity, but the song ends somewhat abruptly.
Overall, though, this is one of the top tracks on the album for me, thus far.

(The final three tracks constitute a suite titled "Finding Love in Dark Places". I'll name the subtitles for each
movement of the suite.)

Track 7 - Part 1: In Orbit (4:19)

This begins with acoustic guitar and a countdown, somewhat reminiscent of David Bowie's classic "Space Oddity".
The vocals are in a lower range with effects on them. He moves to a higher register by the time the rhythm section
kicks in at 1:35. The tempo has a rock-ballad feel. This is a hauntingly beautiful start to the suite. Excellent vocals in
harmony as the song progresses. Great track!

Track 8 - Part 2: The Queen of the Underworld (6:23)

This one has a Pink Floyd feel as it begins but is punctuated with heavy chords. Here is another instance where I
wish the vocals were more prominent. In the verse, they are more audible. At 2:30 a heavy riff takes over. The
verses have a cleaner accompaniment. I think this one might take a few more listens to wrap my head around, but
it's a good track.

Track 9 - Part 3: Magic Love Destruction (5:44)

This one begins seamlessly after part 2. I'd like some more bottom end on this. Magdic plays a cool solo after
around 35 seconds; he's got a bit of Brian May tone going on, but I'd love it to be more out front. At 1:35, everything
drops out except a simple piano part that accompanies the vocals. The rhythm section joins subtly. There is a
heavier section, then another piano-based verse. This one also reminds me a little of Muse. There is a softer
bridge at around 4 minutes. Big power chords and drum fills follow (a la The Who, but with a modern sound). This
brings us to the quieter ending with sustained keyboards. Killer closing to the album.

OVERALL IMPRESSIONS:

This is a solid album with a lot going for it. However, I don't know if it is just my ears, but the production could be
tweaked in places to bring out some of the parts, particularly the vocals and lead guitar breaks. It also seems a bit
mid-rangey and needs some more bottom end to warm it up. That said, there are some great songs and wonderful
playing as well as singing. I will say that I think that the production style may be a characteristic of this modern
heavy prog sub-genre that seems to be influenced by the post-rock sound, so maybe my age is showing a little here!
I especially liked tracks 3, 6 and 7, and didn't dislike any of them. I'll give this a solid 4.25 out of 5 stars (85%), which
might have been higher if the production sound had suited my ears more. It's very good and I highly recommend it
to fans of heavier, modern prog.

THE FLOWER KINGS Hope (Symphonic Prog, 2026)

Mon, 26 Oct 2026 04:11:36 EST

Review by wjohndavidson — The Flower Kings (Roine Stolt in particular) have produced a lot of music in the last 30 years, some of it absolutely
astounding and HOPE is a worthy addition to the bands catalogue.
Its immediately recognisable as a Flower Kings album, but that doesn't mean its a copy of anything they've produced
before.
The album is composed of four tracks, including two epics
World Spinning - the Final Curtain (19 minutes) and Gods of Rome (29 minutes).
The themes (hope and love in troubling times) , the song structures and the musical flourishes are all familiar, but this
time they have been assembled with near perfection.
Plenty of FK albums have a clunker or two, even more have songs that go through the motions but dont stick in the
mind .
Thats not the case here and consequently Hope is their best and most cohesive album since Banks of Eden. Every
note is worth hearing .

4/5, not because its not excellent, but recognising that it is unlikely to win over new fans who haven't heard TFK
before.

ARTI E MESTIERI D-Brane (Jazz Rock/Fusion, 2025)

Mon, 26 Oct 2026 01:31:24 EST

Review by Cicero 3.14 — Since their inception in 1974, they have released only nine albums, yet their reputation in the
jazz-rock scene extends well beyond the Italian peninsula. To celebrate the band's 50th anniversary,
they undertook a unique project?bringing together previously unreleased compositions from *every*
composer who has collaborated with the group over the last half-century. In the interest of total
completeness, every musician who ever contributed to their albums also took part in these recording
sessions. Artistic direction and production were entrusted to Furyo Chirico (of The Trip), who?
naturally?handles the drums. It is a massive drum sound, perfectly suited to the muscular jazz-rock
of the opening track, "Salto con l'Hashtag," as well as the more delicate "Too soon too late."
Even if?like me?you are sometimes wary of jazz-rock bands that might suddenly veer off into musical
territory where only the musicians themselves can discern any coherence, fear not. Just start at the
beginning: "Salto con l'Hashtag" will convince you to listen?and listen again?to all 15 tracks that
make up this "constellation" of an album.
Admittedly, achieving total cohesion across pieces born from the inspiration of ten different
composers is no small feat!
Nevertheless, the production masterfully navigates this kaleidoscope of diverse compositions, which
span a wide range of jazz styles and moods. The result is an album that is a joy to experience?at
times euphoric, often conducive to daydreaming, occasionally cinematic, and always inventive.
And if the album isn't enough for you, they are currently touring?both in Japan and, of course, in
Italy. Don't miss them if you have the chance; if not, there's always the record. Give it a listen!

Initially published on October 26, 2026, in French for Prog Censor

MINIMUM VITAL Le Royaume (Eclectic Prog, 2025)

Sun, 25 Oct 2026 16:28:53 EST

Review by tszirmay — My personal love affair with medieval music started literally in the crib, as both harpsichord and 'la Chanson de
Roland' became partners with my diapers and baby bottle, and ensconced themselves in my sonic psyche,
forevermore. This quintessential French prog band has had a long and elegant career, led by the Payssan brothers,
Jean-Luc and Thierry. All their albums are eloquent displays but perhaps this is their crowning achievement. After all
the release is called Kingdom. The cover art is stupendous.

A dozen compact and intricate tableaux that combine the past, present and even the future ,as I intend to fully
rediscover this release over the next coming years. The musicianship is as always highly elaborate both vocally and
instrumentally with blazing configurations that often skirt the outer edges of manic delirium, the patented
troubadour bass of Eric Rebeyrol dancing around the torch-lit banquet hall, guitarist Jean-Luc plastering the stone
walls with glittering salvos of electric cannon fodder, keyboards garnishing the massive wood table arrangements
with an buffet of ivory sonorities and drummer Charly Berna flailing away on his percussive arsenal. Throw in some
guest violin and flute and the masked ball is complete. Both brothers skillfully handle the various vocal choirs that
come across as chants rather than conventional singing, behaving as a supplementary instrument to enhance even
more human effect.

Minimum Vital's style is an amalgamation of boisterous, excited, cheery, and often rapid riffs, sudden crescendos
and solo spots that never linger, a clear musical tapestry worthy of Bayeux. The first three tracks set the stage of
some entertaining discoveries that should be listened to as if in a concert setting, eyes closed, letting the
imagination run free. Its never boring or even repetitive, as the constant experimentation with other instruments
such as Eric's trumpet blasts on "Cadences" and Thierry wielding the 'metallophone' (a percussion idiophone, like
the Indonesian gamelan) keeping the atmosphere thrilling, resonant and expansive. The lute and mandolin also
provide some insane elation, as on the stellar "Las Estrellas", where the savage synthesizer solos dare the various
string instruments to bravely kick it up a notch, the guitars, bass and violin joining in the cavalry charge. A stunning
piece of magic. "Berry Oak " has a decidedly Celtic /Breton tinge which bodes well for a jig-like impression that
impregnates the soul, that is maintained by the gently pastoral, vocally soothing "Yan dele Son", an acoustic
diversion which is sheer and unadulterated fun, a time travel trip into the Middle Ages.

Appearing out of absolutely nowhere ,"Godzilla" may appear to be a flirtation with modernity , but it's all about
having a good time, and nothing is ever going to surpass that fictional giant reptilian monster that terrorized the
Japanese islands . It's almost needless to state that this is a sci-fi interpretation that has the band enjoying
themselves and entertaining us , a little pop culture intermezzo cannot hurt ! The sonic splendour displayed on the
brief "Farewell" shifts back to knights in shining armor, valiantly heading off to battle.

A couple of medieval dance tracks (or drawbridge, moat and dungeon disco, if you like) are absolute highlights, the
band showing their mastery of tingling exercises in sonic chemistry, the velocity beyond mere horsepower, the
sophistication of atmosphere off the charts and daring even to inject some surely ribald laughter into the complex
theatrics, as on "Danse Cornue", each instrument talking its way into the overall hectic conversation, its truly
adrenaline-charged and unrelenting stuff that would stand out in any musical collection, as there is no other band
that does this as well, perhaps the Morrigan or Colin Masson !

The final curtain is drawn on "Galadriel a Manhattan", bridging the distant past Tolkien-era mythology with modern
times, an interesting concept. The mightiest and fairest of all the elves travelling through a time tunnel and arriving
into New York city, unannounced. Knowing the locals, the vast majority wouldn't even bother noticing . Galadriel's
reaction would be surely a ball of utter confusion and disbelief. The overall sound is deliberately more urban while
still keeping the Middle Earth tonalities intact, the screeching synths doing some traffic-jam spurts that would
boggle the mind of all Bronx cab drivers.

If you seek something way beyond this ho-hum, semi-artificial world, check out these REAL musicians doing their
craft perfect justice. You can thank me later.
4.5 bare essentials

ARROWAY Noises Sessions (Post Rock/Math rock, 2013)

Sun, 25 Oct 2026 15:18:04 EST

Review by Fercandio46 — Noises #1:Imagine a wall clock that chimes. One chime, two chimes, three chimes...but then, suddenly, just when it
should stop...having already struck the correct hour, it continues. Gradually, a melody begins to take shape, a
fragmented one, which you must piece together in your mind by connecting an invisible series of dots. Later,
another sound emerges alongside the chimes; they overlap and persist until they become familiar. And once they
have become familiar... they have already transformed into something else. That, in part, is the nature of Noises
Sessions, by Arroway.

Noises #2: Now, imagine a drop of water falling from a faucet that is no longer quite new. The drop grows into a
thicker stream, its texture shifting and becoming more pronounced, as if it were craving recognition. There are so
many of them, all together; if we pay close attention, we notice that each one is distinct. Depending on how the light
hits them, they don't all shine the same way...some may not shine at all.
Water begins to pool underneath, and as new drops fall, they land upon a base formed by those that came before,
a layer that alters the sound once again. The bathroom provides a unique acoustic environment, and when the
faucet is tightened, the sound fades away just as gradually as it began.

Noises #3: The tiles on the floor, which is made of parquet, take on shapes and figures that seem to move; this
movement also carries a sound, one that is concentric. It is almost a ritual...something primitive, a lulling cadence
that, when you shift your gaze, simply repeats itself in an identical pattern. Upon noticing so many of these identical
forms, overwhelmed by their sheer number, I realize that the sound they emit changes; it becomes a chorus, a
multiplication of what was there at the start. There are many such tiles on the floor.

Noises #4:In another corner that often goes unnoticed, a place with little to no movement, a spider has taken up
residence. It moves slowly at first, then rapidly whenever it senses danger; each leg, as it touches the floor, sounds
like a guitar note...clear and precise. At times, its arachnid speed is such that the web itself seems to transform into
a collection of guitar notes, woven and assembled to ensnare prey for a meal. And it is dark, of course, darkness
always helps. The web, though we know it is actually composed of nearly invisible threads, lulls its victims into a
stupor, holding them exactly where the spider wants them.

Noises #5: The wind slips through the closed window, setting particles in motion...at first just a few, isolated ones,
which happen to resemble solitary musical notes; one hardly notices them when there are so few. By the time their
numbers grow... it is often already too late. Most curious, even charming, are the whimsical shapes formed by these
little drifts of accumulated dust: circles that might be a ship's portholes, triangular pyramids inscribed with
hieroglyphs to which no one replies anymore... until the wind stirs them, shifting them once more, with greater
force, and wiping the slate clean. Weary. A God.

Noises #6: There is a damp patch on the wall. It has been there for months. From staring at it so much, it seems to
grow...one fine day (or perhaps a bad one, or simply a "day", I don't wish to pass judgment) it even seems to have a
sound... a monotonous one, which shifts ever so slightly as the patch expands. This is something one can observe if
one stares fixedly and devotes absolutely all the time in the world to it. For dampness is an absolute concept. As
ancient as a Russian balalaika.

Noises #7: Such close attention to everyday details slightly alters one's perception; what sounded like a guitar might
even seem to be a piano... but it was actually a bird outside, pecking at the ground in search of something to carry
off. Then, a quick dash, followed by a sudden, frozen pause to gauge the perfect moment to resume its task. And let
me tell you something... it never tires!

Noises #8: Everything seems to make sense now. Everything seems to come together; there even appears to be a
melody, electroacoustic, pastoral, that could belong to the countryside, green like the fields, or perhaps to the city
in the early morning, when it is just as quiet (and cleaner). There are echoes... reverberations, shadows... and every
tick of the clock, every drop of water, each floor tile, every movement of a spider, every breeze stirring the dust,
every damp patch, every bird darting about, all of it tells me that this house... and I... are alive.

APAIRYS Vers la lumi�re (Heavy Prog, 2019)

Sun, 25 Oct 2026 14:17:31 EST

Review by Fercandio46 — While heavy prog with French-language vocals is not exactly common, Apairys appears to follow in the footsteps of
Maldoror, though only on the surface. To that dense, baroque sound, drummer Silvain Goillot injects an overflowing
energy, incorporating sudden shifts without ever losing the melody. This is evident in "Rituel," while in "La
machine," the sound takes on an Eastern flavor; here, thanks to the organ, bolstered by the guitar and drums, the
music reaches a grandiloquent peak that truly earns the label "epic."

The recitation style, so distinctly French and reminiscent of the chanson tradition, yet still very much alive in
everything from Miossec to various rock bands, alternates with sections that take bolder risks in terms of vocal
delivery.

"Vers la lumi]]>�"hailstorm" that falls from every direction, before transitioning into a gentle rain, evoked by cymbals and subtle
slide-guitar echoes. The track briefly takes on a jazzy character, providing a breath of fresh air and shifting the
overall tone.
The trio demonstrates great versatility, led by Beno]]>�from David Torn and the Fripp school to a darker, more impenetrable style of jazz. Silvain Goillot's drumming
occasionally functions like a human loop, while his additional contributions on the keyboard pay real dividends,
enriching the album's standout track, a piece that never loses its intensity or vigor.

It is to the trio's credit that the French language, with its silky quality, suits their powerful musical approach so well.
There is a modern, driving force at play, reminiscent of the wilder, more psychedelic side of Stone Temple Pilots, as
well as echoes of an obscure Argentine band called Los 7 Delfines, whose lead singer, Richard Coleman, even
shares a similar vocal range.

"Recueil" is a sixteen-minute epic in which the band flirts with funk, while the singer-songwriter sensibility, a nod to
Maxime Le Forestier's background, reemerges from beneath a shell of distortion, creating an astonishing overall
balance. The extended duration puts their compositional skills to the test; they rise to the occasion, taking flight
within the confines of the genre.

At times it becomes a quartet, or at least it sounds that way, thanks to the keyboard, venturing into Canterbury-
scene territory; yet, the heavy epic exerts its gravitational pull, drawing that sonic mass toward itself so that it may
fulfill its destiny: to become one with the light.

FRANCESCO CABIATI Mirage (Progressive Electronic, 1979)

Sun, 25 Oct 2026 08:32:27 EST

Review by Finnforest — A Time Traveler

Francesco Cabiati is a keyboardist and composer from the Piedmont region of Italy. His social media
over the past dozen years confirm that music has never left him, and he continues to enjoy gigging
in various projects in the same area. Most of his prog site entries focus on his 1979 album entitled
Mirage, the sole full-length release of his career, although he did participate on a self-
produced multi-artist compilation in 1983 called Colori. For that album, Cabiati recorded
three songs which were added to three songs each from Walter Pascale, Guido Viale, and Fabio
Queirazza. Colori is much more a conventional pop-rock album that is very far from the
progressive electronic genre, but it's a pleasant listen all the same. Besides his three songs,
Cabiati handled the keys and drum machine on the songs by the other guys.

Mirage was a completely different animal. It's an instrumental album of often moody and spacey
rock that reminded me a bit of Klaus Schulze, Doris Norton, and even some of the more keyboard-oriented tracks by Mike Oldfield. Now my examples may not be especially helpful as I have very
little experience in the electronic music realm, but I think certain sections of this would be great
soundtrack music for science fiction film scenes. The tracks are not particularly challenging, but
they feature vintage keyboards and a low key approach that is surprisingly effective to me. Unlike
electronic albums with harsh experimentalism or dissonance, here it seems to be about going for some
degree of melody, a bit of exploration at some points, but a bit of relaxation and even catchiness
at other points.

And you'll notice when listening that the feel is not really low-fi per se, but more just a little
bit dated and thin, especially when compared to the work from more aurally fleshed out prog
juggernauts where every bit of space is flooded with sound. By contrast, here things sound just a
tad basement with those vintage, slightly thin instrument sounds. And yet that doesn't harm the
listening experience at all; in fact, it adds a certain charm. So while pretty far from an essential
album, this is a nice addition to anyone aspiring to have a deep RPI collection with some rare
electronic-instrumental rock as well.

TRIBE3 Scars (Neo-Prog, 2026)

Sun, 25 Oct 2026 07:33:51 EST

Review by tszirmay — Let it be revealed? This Welsh trio is now releasing its third album, following a mind-blowing debut and a
sophomore delight which were both dutifully reviewed by the already tribal Prog Rogue. With a fair amount of
trepidation, I received this advance copy from Steve Hughes , asking if I would be willing to write up another
patented adjective-laden essay, to which I responded with the greenest of lights! This veteran crew is like a
Pommard Grand Cru, distilling a scenic concoction of imaginative and cinematographic pieces that raise the bar of
the oft-misjudged and abused Neo-Prog banner, well into the upper stratosphere. Three hyper-talented
instrumentalists remain the core of this tribe : guitarist extraordinaire Chris Jones, Jon Kinsey mastering vocals, the
drum stool and keyboards with equal zeal and multi-instrumentalist Steve Hughes who handles the rugged bass
duties including bass pedals, and a slew of keyboard implements. Five sizeable tracks that will burn your mind,
scratch your skin and hopefully, wound your soul.

Not being ever able to have a full night of sleep is a horrible burden and surely far from healthy, over stimulated by
all the humming seduction of our omnipresent technology. "Insomniac" is a turbulent affair, tossing sonic pillows in
the air, pulling on hopeless blankets of mood and atmosphere, the burping bass and seductive vocals combining to
keep the eye lids wide open. The steady beat parallels the loud pulse of the heart, in its twisted agony of not being
able to rest comfortably, while the keys illustrate the numbness of a mind unwilling to turn off the internal switches.
Jon's vocals are more pleading that just mere singing, as if the slaying of imaginary dragons seems to overtake the
burning desire for slumber. It's a serpentine torment, mellotron strings increasing the light-headedness and a
reptilian bass tongue refusing to fall gently asleep. Definitely not a snore fest?.

Playfully smooth reality takes over with the quivering "Sown Seeds", a silky pattern of slashing guitars, coarse bass
ruffles and sugary synths, that plows the field with a sincere vocal, a grandiose and airy melodic line that liberates a
liquid guitar solo that soaks deep into the soil of the soul. Kinsey is surely one of those rare commodities in rock
music , a terrific drummer with a powerfully effective set of lungs, a most impressive display in a concert setting, to
be sure.

A dozen cinematographic minutes are presented on the very a propos ,"Praying to False Gods", a clever diatribe on
our penchant for blindly believing opinions on social media, the complete absence of critical thinking, and the
acceptance of eliminating the need for a counter argument. A society fixated on 7 second bites, hopelessly addicted
to the next dose of stimulation where one chooses to believe what makes them feel good about their values, a very
well trodden path of disillusion that has brough upon countless tragedies. Technical cocaine. Politicians demand
trust and deserve scorn, but the sheepish lemmings follow. A stunning track that drips in overt symphonics with a
lyrical 'glittering prize' that looks back to gentler/simpler times. A cursed modern world that claims to know
everything but understands nothing. How can you expect an answer when you don't comprehend the question.
Everyone talks about the parroted problem, yet no one about any solution whatsoever.

Well, cuckoo to you, "Over the Garden Wall" has that unmistakable lightness associated with the British Isles, a
tapestry of bucolic sonorities that joyfully play with words, tones and atmospheres, spawning all the great classic
prog bands (Jethro Tull, The Strawbs, Gryphon, Oldfield and of course, vintage Genesis) and a new generation as
well (Iona, the Morrigan, Colin Masson, etc..). The concussive insertion of mellotron squalls shove this straight into
orchestral symphonics, a glorious slice of genius.

The goliath finale "Scars" is a gauze-laden almost 15-minute bandage, protecting the sensitive healing that may
never return to form. The elegant piano leads the charge in this culminating and ebullient foray into shimmering
guitar interfaces from Mister Jones , echoing percussives and dramatic melodic curves into simplicity that quickly
veer into absurd moments of passion, the startling vocals in particular flirting with gilded theater. Yes, it hurts to be
in love, and there is always a fine line between pleasure and pain. Emotionally and physically, the human is a
defenceless creature, often impossibly weak, choosing between courage and despair often on a whim, and
suffering the consequences. Scars are everywhere, as a reminder of our inherent fragility, especially in a disposable
world where values are just a temporary fad. Well, prog isn't and never was , perhaps will never be if AI can be kept
at bay, as a tool and not a 'false god' . When the music dies, the world will shut down for evermore, leaving behind
torture vestiges of what could have been. Let us keep the earth spinning records.

Another jewel in the Neo-prog pantheon, and a band that can claim success with their first three splendid albums
becoming testaments to our aural pleasure. Definitely an absolute keeper, along with the recent Pallas and Credo
albums.

5 Welsh plights

DATURA LODGE Datura Lodge (Heavy Prog, 2026)

Sun, 25 Oct 2026 06:05:52 EST

Review by alainPP — DATURA LODGE offers a powerful yet entertaining alternative rock sound, drawing inspiration from RUSH and
THE MARS VOLTA.

"Mummy" features a guitar that plucks its notes, the vintage keyboard accentuating the feeling. The theme of
disillusionment is staged with Adam's suitably syrupy delivery; the vocals rise and unleash the solo, the powerful
guitar followed by the bewitching keyboard. Adam is unique in his ability to seamlessly transition from nostalgic
rock to grungy proggy rock. "Stone" follows, fruity and energetic with a fast tempo, the vocal harmony
smoothing over the impulsiveness of the musical atmosphere. The bass rumbles midway through and launches
Ben's frenetic violin solo; a musical blend of strength and lightness, speed and violence in a modern style. "98
and 94" are a tribute to those who lived before the internet; an electric, aggressive sound for high-energy,
grungy rock with a deep voice. The keyboard solo followed by the 12-string guitar amplifies the nostalgic mood.
A genre-bending mix driven by a relentless, old-school feel, culminating in a final acoustic guitar solo. "Them"
shifts to heavy metal with its riff, alternative vocals, and a nonchalant, technically proficient vibe reminiscent of
Rush. A cheeky jab at office work, complete with fitting self-deprecation and an impressive guitar solo: the
intensity builds steadily.

"Floor" features a tribal pad, a catchy riff, and vocals with a slightly nasal, pinched edge. It's a very 80s pop-rock
track with a velvety synth behind Adam, a blend of The Cars with Sniff 'n' the Tears on one side and the pop-
metal power of Ghost on the other. "Can" also starts with an electric pad from Russell, with a nervous riff for the
ballad that transforms into a growl. The melody rides the wind, the notes float on the clouds, the piano break is
melancholic, followed by a dynamite guitar solo?no rest for the soul. The latent, ambient vocals and the
dreamy, prog approach emerge; a truly progressive, drippy rock. "Hole" features a gentle, melting build-up,
oozing melancholic emotion. The crescendo swells, unleashing a Gilmour-esque solo, the vocals return, dense
and nasal before flirting with heavy, good old-fashioned hard rock. An ambient sweetness reminiscent of Led
Zeppelin, and, I admit, Floydian again. The theme of regrets is absent with this epic, powerful finale, in RIVAL
SONS mode, a cathartic slap in the face. "Beam" is a funky-rocky track somewhere between King Crimson and
Suicidal Tendencies, strange and disorienting. The slap bass?yes, it's technical?is captivating and emits a
stereo sound that makes you forget Nicky's troubles before plunging into a sound so old I wasn't even born yet,
but which I find incredibly appealing. The best part is that Beatles-esque chorus and that guitar that glides
between your ears; a Levin-esque finale. "Lodge" closes with fresh alternative rock over a vocal harmony
bordering on the cadaverous. An enchanting, syrupy ballad that evokes many others; the violent break,
reminiscent of Genesis, Steve Wilson on the heavy riff, and then the second slap in the face. "You're not alone,"
he says, Adam lays himself down in a viscous layer before plunging us into a typical 70s atmosphere: sweet,
bucolic, delicate. Nicky's bass vibrates, W bewitches with his guitar on an intoxicating solo; you're not alone in
loving this track.

DATURA LODGE offers a polished, dynamic, and explosive brand of 2020s prog rock.(4.5)

THE GATHERING If_Then_Else (Experimental/Post Metal, 2000)

Sun, 25 Oct 2026 02:57:21 EST

Review by UMUR — "if_then_else" is the sixth full-length studio album by Dutch atmospheric rock act The Gathering.
The album was released through Century Media Records in July 2000. It]]>�Measure a Planet?" from November 1998, although the two studio albums are bridged by the January
2000 live album "Superheat". No lineup changes have been made, so The Gathering continue as the same
quintet on "if_then_else" as they were on "How to Measure a Planet?".

Stylistically the material on "if_then_else" also continues down the same melancholic and
atmospheric rock/metal road as The Gathering travelled on "How to Measure a Planet?". The found a
formula and they have stuck to it. Not that "How to Measure a Planet?" was a particularly heavy
release, but the heavy distorted guitar riffs and metal oriented moments are even fewer on
"if_then_else" than they were on the predecessor. The Gathering now fully master the melancholic and
atmospheric rock/metal style they initiated on "How to Measure a Planet?" and they have produced
another high quality release in the style. The instrumentation is tasteful and subdued when that is
needed and slightly more powerful when that is called for and The Gathering prove once again that
they are skilled unit who understands the dynamics of a composition and what it needs to shine.

You can]]>�vocalist Anneke van Giersbergen who possesses a powerful voice and who delivers an intimate and
unique vocal performance. Not everything is centered around van Giersbergen]]>�the most dominant feature in the soundscape. The Gathering have found space for two instrumentals
too in "Beautiful War" and album closer "Pathfinder". Both great atmospheric tracks which are
important pieces on the tracklist. Without further comparison a track like "Beautiful War" functions
just as "Let's Go Away For Awhile" does on Beach Boys' "Pet Sounds" (1966) album. An atmospheric
breather around the midway point of the album.

"if_then_else" is a well produced release, featuring an organic, clear, and detailed sound
production, which suits the material perfectly and all things considered "if_then_else" is another
high quality release from The Gathering. After a lot of albums which developed a lot between each
release, they seem to have found their sound here, and although experimentation is almost always a
plus in my book, it]]>��that]]>�
(Originally posted on Metal Music Archives).

NARYAN IV (Crossover Prog, 2026)

Sat, 24 Oct 2026 19:32:30 EST

Review by kenethlevine — After a 6 year absence, these melancholic rockers return with a completely new supporting cast around the core
dual guitars and vocalist. Gone are the flutes, and while violins, cello and piano still figure, much of the new
atmospheres are facilitated by the keyboards of newcomer Linda Kuoppala, who also continues the vocal duet
tradition on "Tale Full of Wonders", which is a disappointingly stiff ballad. Along with "It All Comes Down to
Darkness" and "Inner Soldier", it's part of the mid album lull.

Luckily we have a return to the heavy rock style with only a modicum of a scream, and, even though "The
Withering" was a major success with a more balladic approach, here it's the muscularity of "Ramble", "Other
World" and "Over the Edge", along with the emotionally saturated "Nevertheless" and "All of My Life" that really
push this over the edge, as it were. The band is no stranger to choirs but here the closer "6th of September" adds
a children's chorus to the tragic theme of personal loss with results that match the ambition. Is it also a possibly
veiled reference to 6th of December which is Finnish independence Day, celebrated with solemnity rather than
fireworks and drunkenness, ok maybe a little drunkenness?

While this is perhaps the weakest NARYAN effort thus far, it's really a question of degree, as it has a few more "just
good" tracks than before, and maybe isn't quite as cohesive, but perhaps this lineup will jell a bit more in time for
the V installment.

JON ANDERSON Jon Anderson and The Band Geeks: Live - Perpetual Change (Prog Related, 2025)

Sat, 24 Oct 2026 19:22:26 EST

Review by BrianS — Wow!
What a revelation. After listening to their disappointing album "True", I shied away from this. Perhaps it was the song
writing that let "True" down.

The band perform a selection of the old classics from Yes albums 3, 4 and 5 and add Awaken and Gates of Delirium to the
song list. The performances are outstanding. rather than being slavish to the originals, the band put their own small
twists to parts of the pieces (for instance the Wurm riff from Starship Trooper has been slightly altered from the Yes
version). They do not damage any of the songs with their minor changes.

Jon Anderson's voice is amazing for an 82 year old. In one or two spots he had to slightly change the register, but he did it
masterfully. Keyboards, guitars, bass and drums are all top class.The band are tight and clearly understand and respect
the music they are playing. The only point they get a bit lost is moving from the second movement to the Third (I get up, I
get down) in Close to the Edge.

As Kev Rowland said in his review, do we need another live version of the Yes classics? As this puts new twists on the
songs and has a different (but equally pleasant) soundscape in places, this is probably one to get to experience the old
Yes updated. This is definitely better than the current Steve Howe Yes as it's not a one man band.

CREDO We The Disconnected (Neo-Prog, 2026)

Sat, 24 Oct 2026 18:30:20 EST

Review by tszirmay — One of my preferred Neo-Prog bands from Britain has reappeared after a way too long privation , a 15-year hiatus
to be exact. Their second album, 2005's "Rhetoric" was a splendid work which also contained one of the finest
compositions ever, the stellar "The Letter". A track I still venerated to this day, as a fine example of crescendo in a
progressive rock context. Six years later they released "Against Reason", which was most kindly received both
critically and from fans around the globe. The seasoned band has remained intact, only one change in the line-up
as Martin Meads has handed his drum stool to wily veteran Gerald Mulligan (Sean Filkins, the Anabasis and along
career with Lee Abraham). These are truly first-class musicians: Tim Birell on guitars, the ever-present Mike Varty
manning the keyboard arsenal, bassist Jim Murdoch and a fascinating vocalist in Mark Colton. There are also some
backing voices provided by Lawrence Colton and Sam Collins, as well as a flute spot by Claire Kennedy. Nearly 82
minutes of music, which would count as a 2 LP offering back in the vinyl only days! Eight longish, fully developed
and mature prog rock tracks to sink one's teeth into after such a prolonged famine.

The pulsating "Losing My Reason" wastes zero time in settling into a consummate concentration of musicianship
that should force those tired eyes closed, the ears now given full control and letting each note penetrate deep into
your nodes. It's a bombastic, throttling ten-minute behemoth of melodic power and sensorial liberation, as the
interweaving guitars and keyboards conjure up a tornado of churning vapors , the rhythm section forcefully
pushing the pace, as well as Colton getting all revved up with fervent despair, much like "the Letter".

The more sedate "Table for One" maintains the sonic architecture with the injection of acoustic guitars and Colton
telling his tale about loneliness in a hectic world, the resolute organ exuding the agony of isolation, paranoia listed
on the menu, poisoned wine available by the bottle or glass, the linen stained by the previous gluttons and an
unfriendly waiter bored with his unforgiving humdrum. Perhaps a lovely razor blade sorbet for dessert, courtesy of
a slicing Varty synthesizer dagger. A melancholic ride 'where each thought is a memory' and then later, 'struggling
for self control to chase away the shadows '. Feeling ? What feeling !

Colton gets into a sorrowful romantic mode on "Tell Us Why", a slow-burning rant where choirs swooning in the
orchestral background, topsy-turvy electronic adding to the mood. Its not pretty but totally engaging, as if
discussing the sign of our times, where fanatics ' people kill people much better with guns', the senseless pursuit of
confrontation, anger, revenge, and tit-for tat aggression. One of the more eminent anti-war compositions in recent
times. As an amateur historian, I perhaps know, but still can not understand? We have not learnt anything after all
these centuries of conflict, which is why we still have to ask WHY. Pathos.

Two epic mastodons are up next, Credo dedicated to not allowing to brake (break) the emotional accelerator ,
"Flowers by the Roadside" dives into a much sterner outlook, the primal bass carrying the load throughout, the
careening electronics inducing vertigo and imbalance, 'that leave a bitter metallic aftertaste', the vocal elevation
powering into a higher realm of consciousness, the sonic hypnosis remorseless and decisive. A now neglected post-
funeral recollection tossed onto the curb, that does not bode well for the future, 'lost inside the silent scream'. The
lyrical bleakness is painful, 'begging for redemption, praying for release' ? A quarter of an hour of simply
devastating stuff!

As if to complete the coffin nail being banged ruthlessly in, what a more suitable segue than a title such as "Fool's
Paradise", where we, the hopelessly duped masses, get played by promises unfulfilled, bold-faced words that are
nothing more lies and two artificially contrarian sides that need each other to justify their need for control (us and
them). Modern civilization has advanced so much in the past three millennia that we can now be content with 2
opposing choices (how convenient, wot!) that have achieved absolutely nothing, in fact regressing into chaos at an
alarmingly pace. Two social colours (see the last song title, please) yet we are surrounded by a multi-hued universe
where every colour gets to shine brightly. Musically, the entire instrumental spectrum is addressed, flute patches,
shuffling tempos, and dark atmospheres combine to sow doubts. The electric guitars attempt some emanation of
hopeful resolution but that is what the blues are all about. Lemming heaven divided we fall.
"Bonkeraria" is not a long-lost Puccini opera but a Credo desire to keep the manic road ahead at the very least
illuminated, with an almost Bond-like twangy guitar leading the highway, amid a fair amount of detailed turbulence
from Mike Varty's various ivory vessels (what a V fest, I am slightly bonkers, me self). The overbearing neo-Gregorian
choir is a clever winner, expertly inserted to raise the ire as well as the fire. Adding fuel to the flame, an absorbing
instrumental masterpiece that is my favourite track here.

Another two colossal towers of energy to finish off this escapade, the enthralling "Round and Round" nominates
Murdoch's bass to galvanize the arrangement, boldly eschewing the linear routine and carving this gyratory tale of
'hamster roulette' called life. Mulligan's drums are bustling along with circular precision, the revolving vocal is
adamant and ruthlessly efficient, as it swings from hard to desperate. A dozen minutes + of orbiting blood and guts
symphonic prog of the finest vintage, recalling early Marillion or IQ. Intoxicating!

Finally, we arrive to the 10 minute (on the nose) "Left or Right" which I had alluded to earlier, a succinct recap of all
the stormy subjects discussed on this album, the human condition being the sine qua non epitome of progressive
rock inspiration (no, its not Harry Potter!) since Woodstock (the original 1969 explosion of consciousness).
'Crossroads nowhere left to turn', perhaps time to look at a once highly successful social construct, way back in the
past, where people can decide and not politicians, for most if not all have failed rather miserably. Forget the two
extremes, let us find common ground via popular debate and well thought out decisions. I know of one place that
does it quite effectively. No more false promises, please. Curtains.

For you neo naysayers out there, the subgenre has never been in better shape, what with Pallas, Tribe 3, Red Sand,
Cydonia, 25 Yard Screamer and now Credo putting out incredibly tight albums within the span of a month. An
absolute masterpiece, this.

PS. I waited deliberately to write this on October 23, the album's release date, as it's my father's birthday (RIP) and
also the 70th anniversary of the 1956 Hungarian Revolution.

5 doctrines of faith.

ILPO SAASTAMOINEN Joutsenen Juju (Prog Folk, 1976)

Sat, 24 Oct 2026 09:56:29 EST

Review by kenethlevine — Part of the mid 1970s Finnish jazz scene along with PIIRPAUKE whom he later joined for a few years, ILPO
SAASTAMOINEN's sole solo album is very much of that ilk, a fusion of mostly jazz with folk, classical
and world music, but he didn't seem to know exactly what to do with it. He did gather some of the
best musicians from that tight knit and budding community, and he himself must have needed a separate
room for all the (mostly fretted) instruments he plays.

I know this would appeal to certain folk much more, but when a big part of your folk credentials are a
few JETHRO TULL like passages (mostly in the opener) and not one but two polkas and you need to cover a Bach tune AND your
voice is dire but somehow the best track by far is the only one on which you sing, well.... And that
track is "Huuhkajan lemmikki", with a very early KING CRIMSON mood - think "Cadence and Cascade" with
GORDON HASKELL off tune and very morose, on second thought just think "Cadence and Cascade". Drummer
EDWARD VASALA definitely went to the MICHAEL GILES school. "Olosuhteiden kaikuja.: is similarly pastoral.

Ilpo went on to significant acclaim from the mid 1980s to 2010 as leader of a world music outfit and
as composer of an opera trilogy in the 1990s, so this is no swan song, but it's not PIIRPAUKE level
and even they were only just finding their feet then. Close enough to 3 stars.

KAMELOT The Awakening (Progressive Metal, 2023)

Fri, 23 Oct 2026 21:44:46 EST

Review by Gatot — It grew on me... and now I'm completely trapped.

To be completely honest, when I first gave The Awakening a spin, I thought it was just going to be an "okay, standard"
release. Nothing out of the ordinary. But man, was I wrong. This album is absolute madness!

It slowly crept up on me. Over time, I found myself completely captivated by the songwriting. The weirdest part? Every
single time I play this album, I just cannot stop halfway through. I am physically compelled to listen to it from the
opening track all the way to the very end. And once the final notes fade out? I immediately hit replay.

It's insane. As of today, I have spun this album from start to finish easily more than 20 times?probably even more, I've
honestly lost count. It has become a total addiction, and I just keep coming back for more without a single hint of
boredom.
Instead, I'm blasting The Awakening full album, starting from The Great Divide. Just the first track after the overture
and I'm already tearing up... even though the music is thunderous like Forever (the first song I fell in love with
Kamelot's music when I purchased the KARMA album), the composition is just insane. The coolest part isn't just the
beautiful melody, but the low-end bassline playing in between with that chaotic 'bung bung bung bung bung' rumbling
sound, yet it feels so damn good. What a badass opening track... powerful yet hits right in the feels.

I don't even need to do a track-by-track breakdown to explain why this works. The entire record just flows with an
unstoppable, passionate energy until you suddenly hit the most beautiful, relieving break in "Midsummer's Eve". Tina
Guo's violin work on that track is absolutely insane! After that deeply melodic, emotionally purging breather, there is
no turning back. You get locked into a sonic trance that carries you through all 13 tracks until the final notes of
"Ephemera".

What makes this journey even more spectacular is that The Awakening is probably not a strict, linear concept album, but rather a profoundly cohesive thematic masterpiece. Unlike the dark, dystopian sci-fi themes of their previous records, this album feels like a deeply personal, spiritual awakening. It takes you through a spectrum of human emotions?from heavy struggles and inner pain to ultimate resilience and hope. The cinematic flow is so perfectly structured that it doesn't just play music; it tells a grand story of emotional rebirth. You may find the overall flow is nicely placed.

And you know what the craziest part is? The moment the outro ends, I find myself immediately looping right back to
the beginning, starting with the "Overture" all over again. It is pure, unadulterated madness.
If you are a human being with a soul for great music, you cannot help but love this album. Kamelot is truly a legendary
band!

Oh by the way ... I spun The Awakening after I listened to latest album "Dark Asylum" couple of months ago after I took
a long break not writing any music review for 9 years!

Peace on earth and mercy mild,
Best regards from Indonesia
GW 24/10/2026

THE FLOWER KINGS Hope (Symphonic Prog, 2026)

Fri, 23 Oct 2026 18:49:50 EST

Review by Tull Tales — After more than three decades, it's remarkable that The Flower Kings can still produce an album this
ambitious while continuing to expand their musical vocabulary.

The magnificent 18'-minute opener, with music credited to Lalle Larsson and lyrics by Hasse Fr'berg
and Roine Stolt, brings a more angular and technically adventurous compositional approach than we
typically hear from the band. While unmistakably Flower Kings, it feels fresh and energized.

The remainder of the album is classic Roine Stolt, yet he seems intent on exploring new territory.
Unusual melodic intervals, hints of Middle Eastern influence, accordion, solo violin, and orchestral
textures all add fresh colors to the band's familiar palette without sounding forced or gimmicky.

I've enjoyed the more song-oriented approach of recent Flower Kings releases, but this album reminds
us how gifted they are at crafting long-form works. The two major epics justify every minute through
strong pacing, thematic development, and constant musical interest. This may also be the heaviest
post-Bodin Flower Kings album, with several passages that genuinely rock while preserving the band's
trademark beauty and melodic richness.

Most impressive of all is that none of this feels nostalgic or self-referential. Rather than
revisiting old formulas, The Flower Kings continue to evolve while remaining true to their identity.
That's a rare accomplishment for any band this far into its career.

Addendum: After initially hearing the streaming version, I was prepared to caution listeners that the two "epics" were really collections of shorter songs sharing common lyrical themes. When my CD arrived, I discovered that was not the case at all. The physical version presents both works as continuous compositions with seamless musical transitions between sections. The difference is dramatic. What seemed fragmented on streaming platforms reveals itself as two highly cohesive large-scale works. For me, the CD version completely transformed my understanding and appreciation of the album.

LA M�QUINA DE HACER P�JAROS Peliculas (Symphonic Prog, 1977)

Fri, 23 Oct 2026 16:37:50 EST

Review by Fercandio46 — Attempting to avoid the political realm only serves to allude to it indirectly; suffice it to say that Charly Garc]]>�gifted pianist with perfect pitch and a background in classical training, managed to describe escapism and the
mechanisms of alienation, while drawing attention to their underlying cause without ever naming it, thereby
slipping past a not-particularly-astute censorship apparatus.

As for the music... Charly Garc]]>�focused phase. Attuned to both the progressive rock movement and jazz-rock fusion, the second album by La
M]]>��homegrown inspirations. The supergroup he had assembled was more tightly knit than on the first record, and it
shows. In terms of composition, it represented a step forward, leaving behind the echoes of the Sui Generis sound
that might have lingered on the debut, and making Qu]]>��
Gustavo Bazterrica was a refined guitarist, adept on both acoustic and electric guitar, and the same could be said
for Jos]]>��Cutaia's organ evokes the spirit of Santana at Woodstock. Meanwhile, Charly's classical-style piano playing adds a
level of sophistication that elevates the piece; once the Moog synthesizer enters, it blossoms into a full-blown
symphonic experience. Charly was composing better than ever, writing parts for every instrument?already hearing
in his mind exactly what he wanted to manifest in the final recording. Classical music dissolved into the mix like dye
in water, and discovering its traces was the reward for a keen ear.

This was a Charly committed to his work, focused and disciplined, who would rehearse himself and put the rest of
the band through their paces until they sounded perfect. It was a work ethic that would gradually fade as the career
of the composer with the two-toned mustache progressed.
"Marilyn, La Cenicienta Y Las Mujeres" shifts midway into something akin to Black Sabbath-style rock, featuring a
complex, dissonant solo that is nonetheless beautiful to hear, as it perfectly complements the dramatic nature of
the composition.
"No Te Dejes Desanimar" features string arrangements that bring to mind Gentle Giant whenever they leaned into a
Renaissance-inspired style. And Charly (it's surprising how high-pitched his voice was back then) sings with his
whole heart. He possessed both a classical sensibility and a rock sensibility. The shifts in rhythm and the successive
musical sections were overwhelming, yet they were connected by effective transitions that provided cohesion.

"Que Se Puede Hacer Salvo Ver Pel]]>�rock in the style of Return to Forever. The presence of two keyboardists was crucial here; the contrasting styles of
Cutaia and Charly complemented each other, serving as an ideal counterpoint.
Charly's cinephilia was already beginning to manifest, and the track incorporates audio excerpts from a classic of
Argentine cinema titled "Casa de mu]]>�
If, at times, La M]]>�debut album. Then we come to "Hipercandombe", in my view, the best track on the record, the most original and
metrically daring, which is based on the harmonies developed by the master Astor Piazzolla and his "nuevo tango",
adapted here for progressive rock by Charly. This adaptation was more than fitting, given that Piazzolla himself
admired both Emerson, Lake & Palmer and Chick Corea, artists with whose work he was quite familiar.

"En Las Calles De Costa Rica" closes the album, sounding like a blend of Focus and John McLaughlin. The record
stands as a testament to turbulent times, the cover art even shows the band going to see Hitchcock's Family Plot,
yet it remains a hyperactive, life-affirming work. Much like Charly Garc]]>�the review serves as a quiet tribute; after all, when it comes to music, his own body of work speaks for itself.

YESTERDAYS Arlequin (Symphonic Prog, 2026)

Fri, 23 Oct 2026 11:25:17 EST

Review by Menadel88 — Yesterdays - Arlequin

I remember exactly the moment when someone first introduced me to Yesterdays' debut album, "Holdf]]>�"Finally, something new," I thought at the time.

Little by little, I got to know the band's work in depth. Album after album, I was always confronted with a new
series of surprises: how can a band remain so uniquely true to itself while constantly reinventing its sound?

After the acoustic, delicate world of the debut, "Colours Caff]]>�emotional and dynamic rollercoaster of "Senki madara", rooted in Hungarian folk music, I thought: "they simply
can't top this..." And then they came up with a magnificent concept album called "Saint-Exup]]>��
That was the moment when I felt Yesterdays had truly grown into one of the "big boys" of the progressive rock
world. For months, I could hardly listen to anything else.

Then four years passed, and here we are again: a new Yesterdays album has arrived, entitled "Arlequin".
- something that is unmistakably Yesterdays.

The words that come to mind this time are "wise simplicity", "the unveiling of the hidden secrets of form", and "
wonderfully varied flow of beautiful melodies". I am enchanted.

Arlequin is new in virtually every respect compared to their previous works, yet it is unmistakably Yesterdays.
The influence of Yes is always there, but this is certainly not a copy. It is original. These people in Eastern Europe
seem to have a very special understanding of something...

But enough introduction - let's talk about the album.

The opening track, "Arlequin ]]>�purely Yesterdays. The rhythm sweeps you along, Patrick Moraz-like synthesizer lines (T]]>��scream with energy, and guitar madness reminiscent of a young Steve Howe alternates with sparkling female
vocals, virtuosic bass playing that brings Chris Squire to mind, and soaring flute passages.

It is astonishing how much music can fit into six minutes...

The second track brings yet another surprise. By accident, it reminded me of the early, joyful side of Echolyn -
although only from a distance. "K]]>��beautifully.

The third song, "Hajnalodom", brought tears to my eyes.

What a change of atmosphere...

Piano, a cello solo, string quartet, flutes and haunting melodies. Do you remember the legendary Hungarian
band After Crying? This song could easily have found its place on one of their albums.

Torma Zsanett, Yesterdays' new vocalist, fills the entire piece with emotion. And while we are here, I have to say
that I feel Yesterdays have somehow found their way back to the sound that made me fall in love with them in
the first place.

We are only at the fourth track, yet another huge change comes along. In just three minutes, "]]>��the story of an impossible dance, filled with the kind of joyful energy that recalls early Jethro Tull ? an
unmistakable tribute to Ian Anderson.

A true little prog gem.

And just as we get used to the cheerful momentum, in the blink of an eye we find ourselves in the depths of Pink
Floyd. We have arrived at one of the album's most beautiful songs, "Keserű sz]]>�song itself, the arrangement keeps building and developing, eventually leading to a virtuoso bass guitar solo
which, had I not known I was listening to Yesterdays, I would have immediately sworn was Chris Squire playing
his Rickenbacker.

I certainly wasn't expecting that...

One thing Yesterdays have always been particularly strong at - at least for me - is their sense of melody and their
ability to write genuinely good songs.

"Vonz]]>��
The guitar solo in the middle once again evokes Steve Howe, roughly in the spirit of "Wondrous Stories",
although purely stylistically, of course. You can hear where ]]>��
The seventh track, "V]]>��flute accompaniment ? just like the opening track of "Holdf]]>�melodies!

While writing this review, I was waiting for one particular moment: the epic HOLNAPOK. The longest composition
on the album contains everything you could possibly want from a perfect symphonic progressive rock piece -
and yet there is absolutely nothing unnecessary in it. It begins with strings and flute, followed by gentle piano
and vocals, rocking softly and almost lulling the listener into a sense of security, before the entire band suddenly
explodes into the picture. After a joyful, rhythmic verse comes a half-time chorus with a melody as beautiful as,
say, Genesis' "Afterglow". Zsanett's voice soars beautifully, surrounded by rich backing vocals and harmonies.

And the song has countless surprises in store.

Before an organ-and-flute interlude reminiscent of "Awaken", there is a brutal vocal, guitar and synthesizer duel.
The second half of the song becomes a sweeping mountain range of harmonious choruses, eventually leading
into a powerful unison section. Then ]]>�luxury of being biased here: "we are listening to a modern-day classic."

The album could easily end here, but the band has one more surprise in store for us. This time, they choose to
finish with a cheerful song. Somewhere between the musical worlds of Queen and Jellyfish, with English vocals,
we encounter a guest vocalist who is none other than (That) JOE PAYNE. What a choice! He fits perfectly into the
world of Yesterdays, and he elevates the song enormously with a tasteful and highly professional showcase of
the extraordinary vocal qualities we have come to expect from him. The whole song is one enormous grin on the
listener's face.

I could never list all the moods and colours contained within these fifty-something minutes. I have a feeling that
Arlequin will not be leaving my CD player very often over the next few weeks.

In conclusion

Arlequin is an extremely enjoyable musical whole: retro in spirit, yet modern in execution. Its variety captivates
the listener and keeps the attention firmly focused all the way to the very last note. A very strong album in
whole. I consider this one of Yesterdays' finest albums, and I wholeheartedly recommend it. Four and a half
strong stars - already scratching at the door of five.

And I am already curious to see what they will bring us on their sixth full-length album.

LARS FREDRIK FR�ISLIE Fire Fortellinger (Symphonic Prog, 2023)

Fri, 23 Oct 2026 07:29:12 EST

Review by Cicero 3.14 — The composer's name might be unfamiliar to you, but if I mention that he is the keyboardist for
Wobbler, you'll likely know who I'm talking about. He admits that, had it not been for the pandemic,
all or part of this album would have been performed by Wobbler. Instead, LF crafted and produced the
entire thing at home. Beyond his Moog, Hammond, ARP Pro, Mellotron, and more?all "organic" gear,
with no MIDI or Auto-Tune in sight?he also plays the drums and sings! He sings in Norwegian?which
comes naturally to him?but the music is so good that I'm actually tempted to learn the language of
Ibsen!
As the album title suggests, there are four stories here. Two epic tracks, each over 16 minutes
long, explore themes like mythology (the misdeeds of King Rakne) and nature (life in the Norwegian
mountains during winter). These frame two 6-minute pieces: one evokes a tranquil place where one
might seek out their roots, while the other tells the story of passengers in a cart that overturned
during a solar eclipse?with no hope of their return. Be sure to check out his presentation videos on
YouTube!
The cover art reflects these four stories. LF is clearly a man of many talents?he even had the good
sense to bring in Nikolai H]]>�(along with Fender Jazz, Precision, and even Telecaster Bass tones) that is strongly reminiscent of
Chris Squire.
These four tracks are perfect for anyone who?like the artist himself?loves Yes, Gentle Giant, and,
of course, Wobbler. In my view, this debut solo album is even better than the latest Wobbler
release, *Dwellers of the Deep*. The instrumentation is incredibly abundant, showcasing melodic
threads that intertwine to weave an album of absolute richness. Essential listening. The only
downside is that, once this review is finished, I'll have to set aside this excellent "bedside"
album to focus on listening to the one I'll be covering in my next review?though I'll be returning
to this one very soon. Thanks, Lars Frederik!
4.5

Originally published in French for Prog Censor

LARS FREDRIK FR�ISLIE Quattro Racconti (Symphonic Prog, 2025)

Fri, 23 Oct 2026 07:26:27 EST

Review by Cicero 3.14 — Since I'm a nice guy with a penchant for teaching, I'll translate the title for you into Norwegian:
*Fire Fortellinger*. For the more observant among you, this might bring to mind what remains, in my
view, the best album of 2023: the debut solo record by Lars Fredrik Froislie?a musician who has
frequently appeared in my reviews through his work with Wobbler, White Willow, Tusm]]>�of Father Robin. He returns now with this third solo album, which?as you've likely gathered?is
simply an Italian-language version of his first. Surprising, isn't it? I can't think of any other
instance where an album, originally created in the artist's native tongue, was subsequently
translated into a language other than English!
Lars and I both share a love for RPI (Italian Progressive Rock)?to the point that we each learned a
bit of Italian just to understand what the bands that transported us during our teenage years were
actually saying. In his case, it was primarily to understand Museo Rosenbach. So, he reached out to
Stefano "Lupo" Galifi?the iconic vocalist of the legendary Museo Rosenbach?and asked him to sing a
literal Italian translation (provided by Sergio Lombardi) of "Et sted under himmelhvelvet," one of
the tracks from his debut album. Retitled "Un posto sotto il cielo," the single was met with great
acclaim upon its release in June 2024.
It could have ended there?but fortunately, it didn't! In September 2024, Wobbler performed at the
Italian festival "2Days+1 Prog"?and, naturally, they were a massive success. It was the perfect
opportunity for Lars to meet his "hero" and propose that he also sing the other three tracks from
that 2023 album. The result is nothing short of magnificent.
So, as the title suggests, there are still four stories to be told. Two epic tracks, each over 16
minutes long?one themed around mythology (the misdeeds of King Rakne) and the other around nature
(life in the Norwegian mountains during winter)?frame two 6-minute pieces: one evoking a tranquil
place where one might seek out one's roots, and the other depicting the impossible return of
passengers from a cart that overturned during a solar eclipse.
Since the music remains exactly the same, I have nothing to add to the praise already expressed on
Prog Censor on July 13, 2023.
Already excellent in every respect in its original form, this work is further enhanced here by the
addition of Lupo's vocals?sung in Italian, a language whose musicality perfectly complements the
lyricism meticulously crafted by Lars.
ESSENTIAL!

Originally published in French for Prog Censor

LARS FREDRIK FR�ISLIE Gamle Mester (Symphonic Prog, 2025)

Fri, 23 Oct 2026 07:23:16 EST

Review by Cicero 3.14 — From the opening track, "Aube" (Dawn), to the final one, "Cr]]>�Fr]]>�tales from the past. If you, like him (and me), are a fan of this era, spending this day with Lars
will be a true delight. For others, it will be hard not to get swept up in the whirlwind of these
multi-layered compositions, polyrhythmically driven by the bass?played by Nikolai H]]>�Point) with a distinct Rickenbacker tone that ranges from thunderous to caressing?and the swirling
flute lines of Ketil Einarsen (Wobbler, White Willow). And should you return for another listen, you
will find yourself spellbound; each time, you'll uncover some subtle, refined detail that is a joy
to discover. Fans of Gentle Giant, Van der Graaf Generator, Yes, Genesis, PFM?and, more recently,
Wobbler (!) and the tales of Father Robin?take note!

Beyond the bass and flute, Lars handles all the instrumentation himself, with the exception of the
guitar?which is entirely absent from the album, its arpeggios replaced at times by the harpsichord.
His drumming is highly creative, too! His vocals, delivered in Norwegian, function as yet another
instrument?not in the same register as Jon Anderson (Yes), perhaps, but certainly in the same
spirit! And let's be honest: you don't always understand everything Jon Anderson sings, either! It's
the same here, only in Norwegian?which almost makes me want to learn the language! (Don't laugh?I
actually did that for Italian.) Fortunately, Lars and the label, Karisma, provided the lyrics, and I
have a translation available for anyone who'd like one. After all, the lyrics themselves are quite
beautiful! Take, for instance, "The 3 Graces"?the mythological daughters of Neptune: "Joy is the
result of grace and beauty." This provides the key to the sheer delight sparked by this second album
from Lars. Regarding his first record?born out of the Covid era?he once remarked that it could
easily have been a Wobbler album; but fear not, the pleasures only multiply, as the quintet is
already preparing a sixth opus!
"Demring" (Dawn): Lars is clearly a morning person, as things kick off at full throttle?joyful,
bouncy, and fresh. He's packed everything into it?what an intro! Then, things settle down
majestically, embarking on a ten-minute hunt for the mythical Calydonian Boar; the Mellotron swells
to grand proportions, the bass lines are articulate, and a romantic interlude precedes the final,
plunging *coup de gr]]>�with you all day?consider yourself warned! "Medusas Fl]]>�an inexorable rhythm, desperate vocals, and a heavy atmosphere, while the cymbals rage like a storm.
"3 Gratier" begins with a light, harpsichord-led introduction, evolving into a centerpiece where the
second half showcases wild virtuosity (reminiscent of Keith Emerson, minus the excesses). Finally, a
twilight track?a twin to the opening dawn?brings the journey full circle, leaving you absolutely
spellbound.
ESSENTIAL.
4.5

Originally published in French for Prog Censor

PATTERN-SEEKING ANIMALS Only Passing Through (Crossover Prog, 2022)

Fri, 23 Oct 2026 07:18:10 EST

Review by Cicero 3.14 — It begins with the 2:50-long "Everdark Mountain"?US prog at its most concise and effective, avoiding
any unnecessary flashiness?and it immediately grabs your attention. The best is yet to come: with "I
Can't Stay Here Anymore," the complexity of the tracks shifts up a gear. Featuring multiple time
signature changes throughout the breaks and generous digressions from the main theme, it confirms
the initial impression?the music is rich and fully realized. It's worth noting that this is already
PSA's third album. John Boegehold (keyboards) had a wealth of material that didn't quite fit Spock's
Beard, so he launched this project alongside other current and former members of that band: Ted
Leonard (vocals?often reminiscent of Don Henley/Eagles?and guitar), Dave Meros (bass, vocals), and
Jimmy Keegan (drums, vocals). Quite the lineup!
The high point?and there are several?is "Time Has a Way," a spirited 13-minute epic so rich that it
feels twice as long, yet passes in the blink of an eye. It features a superb interplay between
themes that shift from tense and restless to fluid, or even take on a Spanish flair, complete with
triumphant "trumpets." Simply breathtaking.
"Rock Paper Scissors" plays with the listener?an infectious ballad that gives prominence to
"violins."
"Much Ado"?more rock-oriented, choral, and emphatic?further highlights the album's distinctly
American prog character.
"Only Passing Through" is more intimate, built around piano, "violins," and vocals, though
occasional themes stir this languorous track to life?at one point, it even takes on an operatic
quality.
"Said the Stranger" opens with a Western vibe, featuring gritty Hammond organ, syncopated rhythms,
and layered vocal harmonies. The mechanism that sweeps us along feels relentless, only letting up
during ethereal breaks, soaring synth passages, and swaying solos?making for a truly captivating
track.
"Here with you with me," while more mainstream, avoids taking the easy route, thanks to its alien-
sounding synths and backing vocals that evoke a restrained Todd Rundgren.
This excellent album rightfully deserves to attract an audience that extends well beyond those who
happen to possess a prostate. It's never too late?or too "PSA"?to take an interest!

Originally published in French for Prog Censor

PATTERN-SEEKING ANIMALS Spooky Action at a Distance (Crossover Prog, 2023)

Fri, 23 Oct 2026 07:15:23 EST

Review by Cicero 3.14 — Pattern Seeking Animals was formed in 2018?19 by former and/or current members of Spock's Beard:
John Boegehold (keyboards), Ted Leonard (vocals, guitar), Dave Meros (bass, vocals), and Jimmy
Keegan (drums, vocals). They had already brought me great enjoyment with their previous release,
which I reviewed in 2022. I recalled that PSA's stated goal was to create progressive music that is
complex yet melodic and easily accessible. With this fourth release in five years, they have
expanded their range even further?and what a way to do it!
The opening track, "The Man Made of Stone," begins with a martial snare drum, ushering in a parade
of instantly engaging instrumentation. The vocals draw us in even further, building a tension that
is elevated by synthesizers and guitars, before a cello introduces a lighter?yet no less enchanting?
vocal tone. The track unfolds as a succession of brief musical phrases, played by a variety of
instruments and adorned with sonic flourishes; together, they weave a rich, intricate soundscape.
Wow!
Next comes the first of two singles?shorter tracks that are even more immediate, yet just as
meticulously crafted. Upon my first listen, I didn't fully register this, so caught up was I in the
sheer pleasure of the music; but with subsequent listens, everything became clearer. I've often
mentioned how Italian progressive rock (RPI) sometimes flirts with high-quality pop, resulting in
superb pieces?well, PSA flirts with AOR! Now, I'm not particularly fond of AOR?any more than I am of
mainstream pop?but these 11 compositions by PSA are magnificent. Furthermore, the three live tracks
from Progstock '22?included as a bonus, with one taken from each of their first three albums?serve
as a 90-minute testament to the quality of this "young" band of seasoned musicians. The sound
production is perfect, too!
To fully convince you, just dive into "He once was"?a 12-minute epic whose gentle intro gives no
hint of what's to come: its complex melodies, its anthemic progression, the sitar, the... well, I'll
stop there; words are useless when it comes to describing the indescribable!

Originally published in French for Prog Censor

PATTERN-SEEKING ANIMALS Friend of All Creatures (Crossover Prog, 2025)

Fri, 23 Oct 2026 07:13:02 EST

Review by Cicero 3.14 — Since 2019, PSA has already notched up 5 albums! This helps console us for the equally long absence
of Spock's Beard?a band with which PSA shares several members: Ted Leonard (guitar and vocals), John
Boegehold (keyboards and vocals), Dave Meros (bass), and Jimmy Keegan (drums).
Diane Boothby (backing vocals) and Eliza James (violin)?both of whom appeared on the previous record
?return to lend their talents once again.
The enjoyment is immediate; the first two tracks, both comfortably exceeding nine minutes, deliver
the kind of melodic prog?replete with frequent rhythmic shifts and an intricate layering of textures
and melodies?that any prog fan will adore. While there's nothing groundbreaking here, it is rock-
solid craftsmanship of the sort these Americans excel at, often featuring emphatic, choral-style
vocals that sound magnificent. It may lean toward the flashy side, but the level of mastery is
undeniable.
If one were to look for echoes of the past, names like Yes, Kansas, or Barclay James Harvest come to
mind. Yet, the prog they create feels thoroughly contemporary; they stand as a pillar of the
American scene, much like Big Big Train in Europe or Unitopia in the Pacific region. Listening to
"Friend of All Creatures" leaves one with a profound sense of fulfillment.
It's a refreshing experience?an album that flows like a tranquil river, winding past ever-changing,
harmonious landscapes. And if you take the time to look closely at those surroundings, you'll
discover unexpected, hidden details. In short: it's pure prog!
The final track, with its telling title?"Words of Love for Evermore"?clocks in at over eight
minutes, yet serves as a perfect distillation of their artistry. Enjoy the pilgrimage!

Originally published in French for Prog Censor

OLOGRAM La mia scia (Rock Progressivo Italiano, 2025)

Fri, 23 Oct 2026 07:03:32 EST

Review by Cicero 3.14 — The short, almost liturgical introductory track opens with ethereal, electronically processed vocals
?reminiscent of a didgeridoo?and immediately draws the listener in. The following track, "Kasbash,"
confirms the album's richness: it features catchy riffs, airy arpeggios, guitar-and-organ power
chords, and light, swirling synths, all anchored by an intricate, weaving bassline. A remarkable
appetizer.
"Luna piena," with its reverb-drenched guitars, leans closer to a traditional song?a common trait in
Italian progressive rock (RPI)?and excels at it. This full moon reveals a werewolf that charms
rather than frightens. "Non sarai" evokes the post-Gabriel era of Genesis, possessing that same
apparent ease, yet it is devilishly well-crafted and lingers in the mind. "Jaracanda," set to a
slower tempo, builds tension through a undulating bassline and delicate arpeggios. Layers of
instrumentation intertwine, while subtle harmonic touches add a wonderful complexity. Violins
whisper, offering a fleeting moment of liberation, before the tension abruptly returns. "Descent"?an
instrumental piece?unfolds as an exuberant display of instruments and textures, with each passage
building upon the last; it is a true vortex of sound.
The title track is a pleasant, catchy song?somewhat in the style of The Police?though it feels a bit
underwhelming compared to what precedes and follows it. While its intro is rather conventional,
"1997" offers greater depth; the initial vocal section gives way to a beautiful, soaring finale?
light in tone, yet, like the rest of the album, deeply existential: "perhaps I don't have what it
takes to live."
Ologram was founded in 2022 by Dario Gianni (bass) for his personal projects; shortly thereafter,
the band released "La Nebbia," which we previously reviewed here. His brother Roberto (keyboards),
his nephew Lorenzo (guitar), along with Fabio Speranza on vocals and Giovanni Spadaro on drums, all
took part in the composition of this second release. Straddling the line between mainstream pop and
progressive rock, they skillfully map out the contours of a new genre?one I would call "neo-RPI."
Definitely one to watch!
3.5

Originally published in French for Prog Censor

NUOVA ERA 20.000 Leghe Sotto i Mari (Rock Progressivo Italiano, 2025)

Fri, 23 Oct 2026 07:00:01 EST

Review by Cicero 3.14 — In 1986?a time of "neo-prog"?keyboardist Walter Pini formed Nuova Era. While it was a "new era," the
band remained firmly rooted in progressive rock, albeit with the addition of instruments that were a
decade more modern. After four albums and a ten-year run, the group went on hiatus. I would have
loved for them to resurface only with this current album?just so I could make a little joke about it
?but they did release an album titled *Return to the Castle* in 2016. This latest release marks a
return to their fundamentals: the lyrics are in Italian, and the album's second epic track?the 18-
minute "Nautilus"?was actually composed when Walter was just 17, proving that the album's central
theme has had plenty of time to fully mature!
Alongside Walter and the ever-present Alex Camaiti (guitar, vocals), the rhythm section has been
revamped since 2016, featuring Rudi Greco on bass and Maurizio Marra on drums.
The first epic?a 36-minute symphonic suite?occasionally takes on an operetta-like quality during its
sparse vocal passages. It opens with an organ that, for a moment, reminded me of the one featured in
the Richard Fleischer film starring Kirk Douglas?though, upon reflection, that was actually Bach! In
any case, you are immediately plunged into the invigorating waters of Nuova Era. The Hammond organ
plays a prominent role, and the long instrumental sections reveal clear influences from the band
Camel, alongside some Floydian guitar work. A breathtaking finale?reminiscent of a King Crimson-
style crescendo?proves, if any proof were needed, that Nuova Era ranks among the great Italian bands
of today.
As a bonus on the CD, you'll find "Nautilus"?a youthful composition that perfectly complements the
concept, proving once again that talent knows no age. The music here is more direct, more
conventional, and also punchier, yet it reveals moments of a more delicate classicism?reminiscent of
the Hackett-era Genesis.
An album to file alongside the must-haves of 2025.
3.5

Originally published in French for Prog Censor

AL DI MEOLA Tour De Force: Live (Jazz Rock/Fusion, 1982)

Fri, 23 Oct 2026 01:50:55 EST

Review by sgtpepper — 1982 marks the end of one of the last true fusion consistent contributors - Al di Meola. His Electric Rendezvous
provided a thoughtful studio fusion album albeit with a slightly updated sound.
And this live album is a very short (39 minutes) summary and farewell to the electric guitar period. Jan Hammer, Steve
Gadd and Anthony Johnson are some of the heaviest names who help carry the torch.
There are no surprises just a constantly good level of energy and professionalism.
The known compositions lead the pack with the new contributions being solid yet they don't make up for other older
fusion workouts missing here.
Rounding up to 4 stars.

BANCO DEL MUTUO SOCCORSO Orlando: Le Forme dell'Amore (Rock Progressivo Italiano, 2022)

Fri, 23 Oct 2026 00:59:55 EST

Review by Cicero 3.14 — Vittorio Nocenzi, composer and ultimate founder of BMS present, had for a long time planned to set
this poem of 40,000 verses, written in the 16th century, to music. With his son Michelangelo and the
lyricist P. Lugli, he designed these 11 pieces. The chivalrous work of Ariosto is, for the Italians,
what the song of Roland (Orlando) is for the French.
After 50 years of career, missteps are not impossible (see Yes), and their last album
"Transiberiana" (2019) did not really touch me, except the bonuses... live at 2days Prog +1 in 2018,
where I was amazed by the performance from their grandiose past discography.
The first listen to this new opus didn't really move me.
But the program is not always available immediately.
I persisted. It took me well, and its epic breath took me away afterwards: the preciousness of
"Proemio", the warlike "La pianura Rossa" perfectly illustrate the libretto (translated).
"L'isola felice" is a pure demonstration of Rpi, it is removed, sought-after and accessible. The
next, "Maldicenza" is an instrumental of great beauty, themes in abundance give, in barely 6', the
dizziness like the backbiting in question, then the punchy and syncopated "Cadere O Volare" mutates
into a ballad where the voice of Tony d'Alessio shows its contained power.
2nd part of the album, the last 4 tracks, are a trip to the moon. "Non credere alla luna" pits
D'Alessio against a superb, ripping sax (uncredited). The 11' of the "Moon suite", struggle to
convince me unlike the finale "Cosa vuoi dire per semper" where this new lineup confirms another
balance between the instruments. Where, previously, the 2 keyboards of the Nocenzi brothers were the
soul of BMS, F. Marcheggiani and N. Gi]]>�new convincing BMS.
The cover revisits the design of their first album 50naire: the little pig which housed our
childhood savings. Having become lunar it deserves to be broken "auguri BMS"!
Rating: 3.5

Originally published in French on Prog censor

BANCO DEL MUTUO SOCCORSO Storie Invisibili (Rock Progressivo Italiano, 2025)

Fri, 23 Oct 2026 00:57:46 EST

Review by Cicero 3.14 — Returning for the third time to the piggy-bank motif featured on the cover of their 1972 self-titled
debut, BMS presents the final installment of a trilogy dedicated to human existence. The first,
*Transsiberiana*, served as a metaphor for the journey of life, followed by *Orlando*, a celebration
of love itself. This concluding chapter focuses on the stories of ordinary, "invisible" people?
individuals whose lives, in aggregate, represent the broader human experience.
Spanning 45 minutes across 12 tracks, the format is highly condensed; there are no sprawling epics
here, but rather a succession of song-oriented pieces where the lyrics take center stage?a
characteristic sometimes found in Italian progressive rock (RPI), and especially prominent here.
Yet, this is far from a drawback. From the opening of "Studenti," a catchy synth riff plunges the
listener into the protests of May '68, drawn into parallel with the Paris Commune of 1870. It is a
wordy affair, but Tony D'Alessio proves himself a worthy successor to Di Giacomo, showcasing the
full, colorful range of his voice?most notably on "Il pittorico." The keyboards, handled by the
Nocenzis (father and son), remain a highlight, even within the constraints of the shorter track
lengths. BMS manages to imbue every piece with complexity; "Il mietitore," for instance, packs a
wealth of detail into its 3 minutes and 36 seconds, telling the story of the underappreciated
harvesters?those who have fed the world since the dawn of time, yet now find themselves held captive
by large corporations. The themes are strikingly contemporary: "L'ultimo moro dell'Alhambra"?which
recounts the expulsion of Granada's Muslims from Spain during the *Reconquista* after 800 years?
serves as a clear allusion to the current situation in Palestine. A metaphor for the contemporary
situation, the album chronicles our world through music that may not be the most "prog" in the
band's discography; yet, its rich melodies and sophisticated arrangements make it a compelling
collection of stories?even for those who do not speak the language. Crafted and performed with
consummate skill by a legendary act from the RPI (Rock Progressivo Italiano) scene, the band
continues to captivate, even after more than 50 years in existence.
3.5

Originally published in French on Prog Censor

JUS PRIMAE NOCTIS Man of Air (Rock Progressivo Italiano, 2025)

Fri, 23 Oct 2026 00:53:16 EST

Review by Cicero 3.14 — The band was formed in December 1991, centered around Marco Fehmer (guitar, lyrics, and vocals),
Mario Riggio (drums), Paolo Antola (bass), and Beppi Menozzi (keyboards). Following several lineup
changes, Alessandro Bezante now holds the bass position.
As it happens, the only unfortunate consequence of that supposedly boozy evening is the name they
chose for themselves: "Jus Primae Noctis"?which translates to *droit de cuissage* (the "right of the
first night"). It earns a spot in my personal dictionary of prog bands with poor names but excellent
music, right between "Arab's in Aspic" and "Khadavra." Incidentally, on the yellow album cover, only
the acronym "JPN" appears, whereas the full name was displayed on their previous, red-colored album.
In truth, this second album?arriving 3-4 years after their first official release in 2020?is simply
excellent. It offers 53 minutes that feel untethered from time, even though none of the individual
elements are entirely new. The first thing that came to mind was Pulsar and, naturally, Pink Floyd
is never far off. But when you add to this kaleidoscope some Crimson-esque guitars, a sitar, world-
music percussion (tablas, perhaps?), a touch of Gong-like excess, the power of metal, a dash of pop
lightness, and a lyrical quality reminiscent of both Camel and PFM, it becomes difficult to
categorize their music?other than to say it is (simply?) JPN. I had seen them perform live in 2017
and 2020, yet I didn't enjoy those experiences nearly as much as I've enjoyed listening to *Man of
Air*. Interestingly, the bulk of this album consists of tracks that already appeared on their 2020
release, *Instinto*?though here they have been remixed, with the song titles and vocals now in
English. If I somehow missed the true essence of their performances back then, I certainly won't
miss this chance to urge you to listen to this ESSENTIAL album.

Originally published in French on Prog Censor

PREMIATA FORNERIA MARCONI (PFM) PFM Canta De Andre' Anniversary (Rock Progressivo Italiano, 2025)

Fri, 23 Oct 2026 00:49:13 EST

Review by Cicero 3.14 — Without the punks, this double album?with its classy cover art?would likely never have existed.
The late 1970s saw the arrival of punk?a raw, immediate, and stripped-back style of music?and the
decline of prog, which was its polar opposite. PFM didn't entirely escape this rough patch, but by
collaborating with Fabrizio De Andr]]>�them! Imagine a collaboration between someone like Brassens and a band like Pulsar or Atoll!
De Andr]]>�referred to as the "Italian Brassens"?he was, in fact, a huge admirer of Brassens, though he
deliberately avoided meeting him for fear of being disappointed. He also skillfully translated the
works of Brassens, as well as those of Cohen and Dylan. A true Italian icon, he passed away
prematurely in 1999 at the age of 59.
Naturally, they toured together; of the twenty or so concerts they performed, one live album was
released at the time. Furthermore, a VHS recording of a concert from January 1979 was later
rediscovered, restored, and edited; when it was released in theaters 40 years later, it drew nearly
100,000 viewers!
Prior to this, PFM had been asked by De Andr]]>�songs as part of a tribute. The very next day, the band was flooded with offers from dozens of
producers. The hundreds of concerts that followed between 2018 and 2024 were, for the most part,
completely sold out!
If you dare to listen to this album?which, I'll admit, is barely "prog"?I am certain you will find a
great deal of enjoyment in it. Take a listen to "La Canzone di Marina"?you'll hear an intimate side
of Franz Di Cioccio. Yet, you'll also find him behind his drum kit or at the microphone, a true
stage beast?leaping about and sweeping the audience along with "Volta la Carta," featuring a wild,
uninhibited performance by violinist Lucio "Violino" Fabri. Then, you'll be rewarded with the
sublime "Amico Fragile," where Patrick Djivas's heavy bass and Marco Sfogli's luminous, heart-
wrenching guitar work will cradle you like a rising tide. The concert concludes with pure PFM
?"Celebration" and "Impressioni di Settembre"?and you might just find yourself starting the whole
thing over again; there's still so much left to discover!
For this tour, Flavio Premoli?who was part of the lineup back in 1979?has returned, lending his
voice and accordion, and layering his synthesizers alongside those of Alessandro Scaglione. It's
classic PFM?a band that, ever since the 1975 release *Cook*, has remained one of my all-time
favorite live acts.

P.S. For our Italian readers: I'd give this 5 stars?a nod to the deep connection that once existed
between "Faber" [Fabrizio De Andr]]>�
Originally published in French on Prog Censor

PREMIATA FORNERIA MARCONI (PFM) The Event - Live in Lugano (Rock Progressivo Italiano, 2023)

Fri, 23 Oct 2026 00:25:27 EST

Review by Cicero 3.14 — Today, June 21st?the F]]>�It's been 48 years?ever since I first heard their debut live album, *Cook*, in 1974. It was recorded
simply to make use of a mobile studio that had been left behind by ELP! *Cook* remains in my top
five live albums?a pure, unretouched live performance! Absolutely immense.
After 5,000 concerts?or perhaps 6,000? They've stopped counting!?PFM is still going strong. Sure,
some grumblers might say the band has changed, but the essence remains?and the rhythm brothers,
Franz Di Ciccio and Patrick Djivas, are still there. And PFM's music? It's very much alive and well!
They are joined by Lucio "Violino" Fabbri (with the band since 1980) and the maestro Alessandro
"Mynus" Scaglione, who joined PFM in 2012 at the age of 26. There are also two guests: Luca Zabbini,
who contributed to their latest LP, *Pecore Elettriche* (2022), now handles vocals and keyboards on
stage (while remaining the leader of Barock Project!). Even more surprising is the participation of
22-year-old prodigy Matteo Mancuso, who stepped in for the unavailable Marco Sfogli. PFM has the
advantage of being a true institution; both guests grew up listening to the band?raised on PFM by
their parents?so they fit in seamlessly!
This live recording, which is heavily instrumental, captures a concert from August 27, 2022, in
Lugano. It took place during the tour for *Pecore Elettriche*, which provides the first three tracks
?a joyful, festive sequence to kick things off. Lucio's violin and Matteo's guitar trade choruses,
responding to the roars of Luca's Hammond organ and the soaring Moog lines from Aless?all anchored
by a nimble, swirling bass. PFM's lineup?two keyboards, violin, guitar, and bass?serves up melodies
that blend jazz, the grandiosity of prog, and that distinct, airy touch characteristic of *Rock
Progressivo Italiano* (RPI).
To the delight of their audience, PFM also pays tribute to their illustrious past, featuring tracks
like "Impressioni di Settembre" (with a fresh take on its iconic intro), "Il Banchetto," "La
Carrozza di Hans," and "Photos of Ghosts"?all drawn from their 1972?73 albums. Rarer additions to
the setlist include "Quartiere 8" and "Cyber Alpha," dating from 1981 and 2006, respectively. The
final six tracks?ever-shifting in form?often bring the concerts to a close in a euphoric, high-
octane sequence. It begins with the "Dance of the Knights" (from *PFM in Classic*, 2013), followed
by "Mr. 9 'til 5," a "Violin Jam," and the overture to *William Tell* (Rossini), before culminating
in the festive "Celebration" ("]]>�"As always, it's a celebration?
Like a light-winged bird taking flight."
GO SEE THEM, and/or enjoy this record?it's a true celebration!

Originally published in French on Prog Censor

PREMIATA FORNERIA MARCONI (PFM) I Dreamed of Electric Sheep / Ho sognato pecore elettriche (Rock Progressivo Italiano, 2021)

Fri, 23 Oct 2026 00:23:38 EST

Review by Cicero 3.14 — Autumn is the season of nostalgia?a feeling only heightened by the release of new studio albums that
harken back to my youth! We're talking about Yes, Hackett, Caravan, and now this?the 20th album from
the illustrious Italian masters themselves: PFM (Premiata Forneria Marconi).
Setting aside their first three albums?which form a cohesive body of work and consistently rank
among the greatest progressive rock masterpieces?PFM has always been a band in constant evolution.
This album is definitive proof of that, featuring ten tracks, three of which are instrumental. The
opening pair of songs sets the tone: it begins with a sound reminiscent of an early 20th-century
Russian classical piece, shifts into a sharp, metallic riff, and ultimately transforms into a
tarantella?a quintessential example of the *Rock Progressivo Italiano* (RPI) style!
That says it all. You get the classic PFM sound: the melodic keyboards of Alessandro Scaglione or
Luca Zabbini (of Barock Project), the warm vocals and refined drumming of Franz Di Cioccio, and the
intricate, sculpted basslines of Patrick Djivas (see our interview). That's the essence of "Ombre
amiche."
But then, the bass and the guitar?played by Marco Sfogli?steer us off the beaten path. We venture
into progressive metal (Sfogli's background), Fripp-esque soundscapes ("Atmospace"), funk ("Peccore
Electrico"), jazz-rock, and even a touch of Gypsy-inspired music on "Mr. Non Solo," bolstered by the
violin of Lucio Fabbri. Later on, "Il respiro del tiempo"?with its Eastern and Celtic atmospheres, a
guest appearance by Sir Steve Hackett on guitar, and the flute flourishes of Ian Anderson (Jethro
Tull)?sweeps us away, culminating in a choral refrain that is nothing short of delightful. And what
can be said about the two breathtaking instrumentals that conclude this album! Picking up on the
intro to "Peccore," these two back-to-back tracks?powerful and wild?are reminiscent of PFM at their
live best!
The concept behind the album is drawn from the Philip K. Dick book that inspired *Blade Runner*.
Science fiction is a great passion for the band's stalwarts, Franz and Patrick?a rhythm section duo
for nearly 50 years?whose half-faces share the striking cover art. The record is released today; I
hope there are still copies left, as they're likely selling like hotcakes at the Marconi bakery!

Originally published in French on Prog Censor

EVELINE'S DUST Eveline's Dust (Eclectic Prog, 2025)

Fri, 23 Oct 2026 00:17:12 EST

Review by Cicero 3.14 — Evelin's Dust has been in existence for 13 years?an unchanging quartet consisting, since its
inception, of Nicola Pedreschi (vocals and keyboards), Lorenzo Gherarducci (guitar), Marco Carloni
(bass), and Angelo Carmignani (drums).
This fourth album arrives after a six-year silence?likely the time needed for a record to bear the
band's own name, signaling that this is their "coming-of-age" or maturity album.
The eight tracks are generally shorter, ranging from 3:20 to 4:40?with the exception of "Returning
Somewhere," which nears the 8-minute mark?ensuring a certain cohesion. Their previous album, "K,"
was more disparate and, in my view, less consistent.
Right from the opening track, "Rising 2," we dive into solid neo-prog, featuring the kind of
progressive guitar chords already heard on "K." However, when the vocals enter, there is a
noticeable shift; the way they are treated brings to mind Gino Vannelli?a style I'm very fond of?and
this approach, which recurs throughout much of the album, adds a real plus. The vocals aren't
limited to a Vannelli-esque style; they shift to suit the lyrics, even taking on a feminine quality
with the addition of Lara Billie Moretto, who features as a duet partner on the penultimate track,
"Void." The second track, "Eveline," sounds like a blend of rock and art-rock in the vein of David
Byrne. "Here There Nowhere" is very much in the style of Vannelli, with a pop sensibility
reminiscent of the band Japan. "Returning Somewhere" takes more time to unfold; it's intriguing,
with haunting guitar arpeggios that later give way to the bass, before a forceful, Porcupine Tree/
Steven Wilson-esque break shatters the atmosphere with a wailing, wah-infused guitar?only for the
vocals to return, soft and gentle, to conclude the piece alongside those welcome arpeggios. "Grace
the Sound" is a tender song, again in the style of Vannelli. On "Crawl," a spongy bassline hammers
away, kicking off a powerful track that might evoke the sound of UK?though in a safer, more
accessible vein. "Void," with its lingering presence, would make for a lovely summer slow dance.
"Better Lie, Bitter Life" brings the album to a beautiful close, blending influences from King
Crimson, rap, and Vanelli. Nothing is ever quite straight with the folks from Pisa, is it? You'll
surely find plenty of Joyce-ian echoes when listening to Eveline's Dust!
3.5

Originally published in French on Prog Censor

VIII STRADA Citt� Totale (Progressive Metal, 2026)

Fri, 23 Oct 2026 00:12:01 EST

Review by Cicero 3.14 — Ottastrada has released its third album, "Citt]]>�content. Consider this: it includes two brand-new tracks (the focus of this review), a live set from
their previous tour, and a remix of their 2008 debut album.
Formed in 1998 around Tito Vizzuso (vocals) and Silvano Negrinelli (keyboards, music, and lyrics),
the lineup is completed by Davide Zigliani (guitar), Sergio Merlino (bass), and Sigfrido Percich
(drums).
The first CD opens with a live segment featuring two tracks from the 2015 album "Babylon." It begins
with a medley of three prog-rock/jazz-rock pieces?so perfectly recorded that only the very end
reveals it to be a live performance. "1403 Storia in Firenze"?a more rock-oriented track, complete
with double-bass drumming?is a classic, anthemic song, bolstered by choral backing vocals. It is
packed with energetic breaks that surely make a powerful impact on stage. A cover of a song by "Le
Orme" features a lovely dialogue between bass and guitar, though it sits between the live versions
of "Ulysses" and "La leggenda della grande porta"?both of which also appear in studio form on the
second CD. The live performances are every bit as good as the studio versions; Tito's vocals are
superb!
Then come the new tracks: first, "Citt]]>�driven by virtuosic, distorted guitar and a Hammond organ. Yet, that description would be too
narrow; the breaks and choral arrangements add a touch of... muscular symphonic flair. At times, the
acoustic guitar even takes on a Spanish-inflected tone. In short, this new track remains as complex
as anything the band has produced in the past. The next track, "Quale primavera," is perhaps what
Vivaldi might have written had he had access to modern-day instruments! This "spring" evokes the
spring of 1986 in Chernobyl?sumptuous at first, then taking a darker turn as the distorted guitar
returns, accompanied by its rhythmic entourage.
CD 2 offers a chance to (re)immerse yourself in "La leggenda della grande porta" and its title
track. A superb epic (clocking in at over 11 minutes), it sweeps you into a maelstrom; it begins as
a simple *bella canzone*, but as the "great door" swings wide open, it unfolds into a sumptuous,
symphonic spectacle.
It's essentially a "best-of" collection?not to be missed, especially if you weren't previously
familiar with the band!
3.5

Originally published in French on 10/23/2026 on Prog Censor