Reviews (all) - Progarchives.com

ALBION It was in the Month of May I (Prog Folk, 2026)

Sat, 27 Jun 2026 12:35:53 EST

Review by kenethlevine — The subtle "I" at the end of the name here suggests that this second album might be the first in a line of "May"
themed opuses by these relative newcomers. While in structure and overall effect similar to their 2024 full length
debut, they are sounding more British isles and less scattershot Euro than before. Not to say this is any more original,
what with JETHRO TULL comparisons likely to plague them forever, even though their commitment to being a
Celtic rock band first and foremost is far more convincing than Ian Anderson's preference for diversification. This
places them closer top the likes of a more patriarchal STEELEYE SPAN or even RUNRIG or OYSTERBAND territory.
They do sing one track in Welsh which, combined with the GPS references of "Lakesongs of Elbid", belies possible
ethnic origins. Perhaps not as prog or as wide ranging, it's also more consistent, hence making that final character
in the title a welcome hint of the springboarding future.

IAN NEAL The Gemlike Flame (Symphonic Prog, 2026)

Sat, 27 Jun 2026 12:12:06 EST

Review by tszirmay —
The Sheffield arranger, composer and multi-instrumentalist rises once again, landing straight to the top of the
Symphonic prog pedestal with another outstanding release that merits the attention of all prog fans, his sixth
venture that includes last year's 20th anniversary remake of his debut 2005 album "All in the Golden Afternoon".
While all his records are of exceptional quality, as well as highly rated within the community, as he maintains a
stylistic standard that is purely his own, this new opus might just conquer the prog Everest once and for all. So,
when we talk about symphonic Prog , the two words are of maximal importance , as the balancing act required to
blend the two together in harmonious deliverance is a challenging task. Arranging classical music, especially
keyboard-based material is a bold enterprise, as the numerous prog legends of the glory years of the 70s stamped
the rock element for eternity (we know who they are). Credibility, originality as well as respect of tradition are all
required elements. Ian handles this arduous task by fully understanding how this brand of music needs to be
listened to. The audience yearns for an immersive experience, with a time, a place and a story to plunge into with
full engagement, in order to savor all the detailed components and how it will affect the pleasure nodes. From the
three-part opening suite "How Dreams Do Creep (for Souls Asleep), to the sprawling "Leonardo" with its five acts ,
the casual listener is instantly drawn into abandoning any background music pretense, dropping all the multi-
tasking maladies of our times , and just close the eyes, and let the imagination roam freely. That my friends is what
music should be about: liberation.

Ian wastes no time in establishing the foundational platform on which he will develop his craft on the opener,
lessons learned from past innovators like early Genesis, including Ant Phillips (Slow Dance era) , as the delicate
interface between the mellotron symphonics, the pastoral elements so dear to the British folk-rock tradition (The
Strawbs, Gryphon, Magicfolk, Iona, etc?), and a brawny bass governance leaps forward throughout. Lather on
some heady keyboards, both organ, piano, and synths, toss in some slicing guitar shavings and some serious
syncopation on the percussive side, and you are immediately plunged into an alternate fantasy world of your own
making. As if to further the point, "Late States , Eden's Gates" eliminates any possible argument that lethargic
arrangements could rule the roost, quite to the contrary, the pace is throbbing, expansive, and at times,
breathtakingly bold. That stodgy bass is such a devourer of emotions, egging on the remaining instrumental
deliberations.

A moment of reflection on the short "Enitharmon's Dream" wanders into dreamier territory yet still packs quite the
wallop when challenged, very indicative of the album cover's intuitive message.
The epic, nearly 13 minute "Cretan Angel" elects a mythological revisit of the Greek classics, your choice of Iliad or
the Odyssey, a vocal and acoustic main frame on which to establish presence, a light passing through the veil of
illusion, and a state of temporary silence. The progression is effortless, a gradual build-up of symphonic festivity,
where details vie with overall impact for the attentive ear. The second half raises the temperature with stormier
motifs, booming drums ushering in grandiose walls of synthesized orchestrations, and an expertly sculpted guitar
solo that seek to rival the electronic keyboard arsenal, both putting up quite the fuss. The swirling finale is rightfully
over the top.

A duo of 5-minute pieces are next up, with "Fresco" surging into more delicate territory , a warm synth weaving
between tick-tock drums, a massive synth-bass echoing throughout the musical cupola, craning necks desperate for
focusing on the intricate details. The electric guitar solo overtly takes this straight into the celestial heavens, with a
sprawling Gilmour-esque burst that screeches emphatically. Sublime. Another bucolic, flute-led orchestral romp on
"Of Aether, Rose and Spangling Dew", the soaring harmonic chants a pure delicacy, church organ lagging close
behind, cherubs looking down and smiling, establishing a comfortable numbness from which no one wishes to
escape. Gloriously intense.

The 11 and a quarter finale is the absolute highpoint, an exquisite exercise in cutting-edge, soundtrack-worthy
cinematographic immersion. The stylishness of the piano, in tandem with its bass guitar counterpart, the eloquent
choral voices, the euphoric cymbals crashing undeterred, as the melodic accrual marches onward and upward, is
wholly phenomenal. The hushed lead vocals appear to express more than reverence, as the crescendo is ultimately
attained and the whistling winds scatter the leaves of memories past. The evolution maintains nevertheless a
continuity that keeps the focus on the overall canvas, adding a plethora of detail, power and insistence that was
deliberately arranged to achieve a haunting apotheosis, perhaps even apocalyptic irrevocability. Symphonic Prog
has a new classic to enjoy for ever more.

Whatever your preferences are and how they may influence your choices, there is a time and a place for this style
of escape within our over stimulated, at times helter-skelter (rarely has a Beatles title been more applicable to our
current mayhem), and many would be negligent at their own peril of not checking out this gemlike flame! This
release needs to be both heard and felt.

4.5 glittering emeralds

NEGURA BUNGET 'N Crugu Bradului (Tech/Extreme Prog Metal, 2002)

Sat, 27 Jun 2026 07:55:14 EST

Review by siLLy puPPy — From its humble origins as Wiccan Rede to its earliest albums as NEGURA BUNGET, this Romanian band
elegantly began weaving in an increasingly strong aspect of progressive rock with each release
slowly emerging as something more complex than what preceded. Two albums in and NEGURA BUNGET was a
major world class powerhouse of exquisitely designed atmospheric Pagan metal that took full
advantage of the progressive metal lexicon and with N CRUGU BRADULUI, the band's third full-length
release, the band that now consisted of the original duo drummer Negru and guitarist / vocalist /
keyboardist Hupogrammos Disciple's along with guitarist Cristian Popescu "Sol Faur" and guest
bassist Ursu went for the progressive jugular.

Wild claims state that the title translates into something exotic such as "Through The Deepness Of
The Fir Tree Heights," which is parroted across the internet but it seems that the album's title N
CRUGU BRADULU simply translates as "Around The Fir Tree." The album debuted the band's fullest
progressive potentials which features an epic concept of the natural cycle of the universe and
broken down into four lengthy tracks that each represents one of the four seasons with tracks
ranging between 12 and 15 minutes in length. The album ramps up the band's flawless atmospheric
fusion of aggressive black metal along with synthesized arrangements and eerie ambient effects.
Likewise the band introduced more aspects of its native Romanian folk music with the timeless sounds
of Transylvania seeping in.

With four chapters simply titled "I" through "IV," N CRUGU BRADULUI offers haunting atmospheric
buildup to ratchet up the mystique before erupting into a frenzy of black metal bombast and in the
process evokes the dreamy atmospheric ambience of Burzum with the high octane energetic drive of
Darkthrone only fueled with the folk flavors of its homeland. "I" takes opens elegantly with a post-
rock inspired introduction that slowly ratchets up the tension to a wonderful display of exquisite
musicianship in cahoots with well crafted compositions that keep your attention focused and then
never let you off the hook for the album's near 54 minute journey. The album elegantly blends the
Pagan mystique of Romanian antiquity while capturing the dark essence of Transylvania's #1 export,
the Dracula mythos despite that not being the subject.

While the following "OM" gets touted as the band's masterpiece of its career and for great reason as
it takes what was presented on N CRUGU BRADULUI to even greater levels of ingenuity and
experimentation, for my tastes i find this predecessor to be on equal standing of its more lauded
counterpart. This album is flawless in execution and showcases the band's first perfecting balance
between the atmospheric cryptic nature of the album's thematic structuring and magnificently mature
black metal that seamlessly fuses in the Romanian folk musical touches. The band had matured in ever
possible way and although "OM" may be a tad more diverse with more excursions into pure folk
ritualistic effects, N CRUGU BRADULUI evokes the true majesty of Romanian black metal at its top
tier level and every bit as enthralling as its followup. Just as much as a classic.

DEAD CAN DANCE The Serpent's Egg (Prog Folk, 1988)

Sat, 27 Jun 2026 01:44:55 EST

Review by A Crimson Mellotron — Lisa Gerrard and Brendan Perry continued to evolve the sound of Dead Can Dance on their fourth
studio album 'The Serpent's Egg'. Of all of their 80s releases, this is the album that embraces most
thoroughly the neo-medieval, tribal-like aesthetic and at this point their project bears almost no
resemblance to the earlier darkwave post-punk sound (as heard on their self-titled debut LP or on
'Spleen and Ideal', for example). At the same time, 'The Serpent's Egg' exhibits an immaculate taste
for atmospheric ambient sounds, which comes through in spades on the more vocal-dominated tracks.

This record definitely evokes a feeling of awe and splendor, almost as if you are listening to the
soundtrack of a surreal dream, and one can easily understand how much medieval folk music had
influenced the Australian duo's taste, whose infatuation with the spiritual side of music here is
both daring and earnest. And while it is incredibly difficult to highlight certain tracks on an
album like this one, some of the mesmerizing compositions appearing on 'The Serpent's Egg' include
the phenomenal opener 'The Host of Seraphim', the song 'Severance', which is one of the few songs on
this record featuring the vocals of Perry, the majestic 'In the Kingdom of the Blind the One-Eyed
Are Kings' as well as 'Mother Tongue' and 'Ullyses' - all of these tracks have some magical quality
to them that only Dead Can Dance are capable of birthing, which is very likely why 'The Serpent's
Egg' continues to be one of their most praised and valued releases. Delightful and delirious, this
record defies genre and explores music as a majestic living organism.

QUANTUM FANTAY The Butterfly EffeX (Psychedelic/Space Rock, 2026)

Fri, 26 Jun 2026 22:07:03 EST

Review by kev rowland — The guys are more settled on this their latest release, with Pete Mush (synths), Tom Tee (guitar), and Jaro (bass) now
having a full-time drummer in Jazzper Coulier, who was one of three drummers on the 'Oneironauts'. Flautist Charles
Sla is back again as a guest along with cellist Lyssa Toyimbo but no room this time for Ozric's Ed Wynne which is a
shame, as if any band is continuing his work, it must be these Belgians. This is their tenth album, and the fifth I have
heard out of the last six, and they are getting even more complex as they mix dance with space rock, psychedelia,
tribal and so much more.

When this album is on and the music is blasting out it is like nothing else exists as it takes control of the senses, and
although they can slow it down when they wish and provide the contrast and dynamics which music needs to breathe,
the listener knows it is just time to rest until they come back again with a vengeance. It is Ozrics mixed with Hawkwind
with dashes of ]]>�rave as it is between your ears when played on headphones (always at a decent volume). This is music beyond time
and space, with guitars and synths knowing when to be mellow, but also when it is time to just let rip and go with the
flow as they attack the senses. Yet another masterful instrumental collection from one of the top bands playing this
style of expansive space/psychedelic rock.

TRIUMPH The Best of Triumph (Prog Related, 2026)

Fri, 26 Jun 2026 21:52:22 EST

Review by kev rowland — Unless you have been under a rock somewhere you will know that Rush are not the only Canadians making an
unexpected comeback in 2026, as the original line-up of Mike Levine (bass, keyboards, synthesizer, piano, backing
vocals), Gil Moore (drums, percussion, lead and backing vocals and Rik Emmett (guitar, lead and backing vocals,
synthesizer, keyboards, bass) are also hitting the road. Of course there will always be a record label tie-in, and as there
is no new product to release, we instead have another compilation of their greatest hits (many of which are single
edits). I have all the albums featuring the original guys, having first discovered them when they released the single
"Hold On" which soon led me to buying their third album, 1979's 'Just A Game'. Their technical melodic hard rock was a
style I really enjoyed, a long way from the NWOBHM scene I was experiencing as a teenager in the UK, and playing this
album now is like visiting old friends.

Every song contained on this 10-track set was a hit single in Canada or America, but I was somewhat surprised to see
that "I Live For The Weekend" was missing as that has always been one of my favourites (I have it as a 12" single) but
then realised that for some weird reason it was only a hit in the UK. But given it was the only song of theirs to ever
chart there it would have been nice to see it, but I guess Americans/Canadians may not see it that way. This is a great
introduction to one of Canada's greatest ever hard rock exports, and while their return may been overshadowed
somewhat, there is no doubt they are worthy inductees to the Canadian Music Industry Hall of Fame, the Canadian
Music Hall of Fame, and Canada's Walk of Fame, even if there has been no new studio album since 1992. "Lay It On
The Line", "Hold On", "Magic Power", "I Can Survive" are all here, ans in many ways this is a solid release.

PROTOS The Infinite Horizon (Neo-Prog, 2024)

Fri, 26 Jun 2026 21:23:27 EST

Review by kev rowland — Protos was formed in 1977 by Rory Ridley-Duff (keyboards) and Steve Anscombe (guitars), and their 1982 debut
album, 'One Day a New Horizon', had an expanded line-up which included Neil Goldsmith, Iain Carnegie and Nigel
Rippon. By 1984 the band was no more, but Ridley-Duff and Anscombe stayed active in the music scene, and following
on from a CD reissue of the album in 2006 they released a new album the following year. What we have here is a new
keyboards and drums version of the original with Ridley-Duff being joined by drummer Alex Warwick. Apparently
Anscombe was involved in the arrangements but was too ill to be musically active as he was suffering from a terminal
illness, and on the front cover it states, "In memory of Stephen Anscombe".

It is somewhat unusual for a band to revisit their debut so long after the original was released, and although I
probably know more underground prog than many, I must confess I have never come across the original. This album
has the same six songs but not knowing the debut I cannot comment on just how different it is. What did surprise me
however is just how much I kept thinking of Soniq Theater while I was playing this, and I was somewhat surprised to
see it wasn't Alfred when I looked to see what the album was. However, the use of "real" drums makes a significant
difference and definitely adds to the polish on this release. It is not surprising to discover this is a remake of a much
older album as it still has plenty of Eighties' feel about it, probably aided by the keyboard sounds being utilised.

It is an interesting release as opposed to essential, and in some ways appears to have been influenced by Steve
Hackett and Anthony Phillips' pastoral works, which is something of a weird thing to say given they are both guitarists
and this is keyboards, but my mind works in weird and wonderful ways. It is a pleasant enough progressive romp, and
I am sure anyone who has enjoyed the original release will want to seek this out.

POLY-MATH Something Deeply Hidden (Post Rock/Math rock, 2026)

Fri, 26 Jun 2026 19:28:19 EST

Review by kev rowland — Poly-Math are a British instrumental act formed in 2013 by guitarist Tim Walters who was originally drummer of post-
rock band Monsters Build Mean Robots. He wanted to focus on guitar and instrumental music and was soon joined by
bassist Joe Branton and drummer Chris Woollison. Shortly after the release of their 2018 album, 'House Of Wisdom |
We Are The Devil' they were joined by American multi-instrumentalist Josh Geesner, who had relocated to the UK, and
although they moved to a quintet for a short while with saxophonist Chris Olsen joining the ranks they are once again
operating as a quartet.

Musically this is all over the place with an incredibly diverse set of influences ranging from early classic prog, Ethio-jazz,
post-rock, math rock, African tribal rhythms and so much more. There is a great deal going on at all times with hugely
complex and complicated arrangements and massive note density, which means the listener needs to pay close
attention to what is taking place or running the very real risk of missing out. Everyone involved is a master musician,
yet there is little in the way of egos or hogging the limelight as all have a hugely important part to play in the overall
sound as the percussion can be working in one direction which is totally at odds with the guitar while the bass is off on
its own melody and the keyboards are taking another route, yet when they combine, it all makes sense. They will
converge at a point; take a split second to remind each other they are all in the same band and then they are off again!

While math rock is the main style, they bring in a great deal more, and Woollison is a true percussionist, not just a
drummer wanting to expand his resume, which adds greatly to the overall impact.
Truly progressive, this is a fascinating album from beginning to end.

NEKTAR Magic Is a Child (Psychedelic/Space Rock, 1977)

Fri, 26 Jun 2026 18:15:43 EST

Review by kev rowland — This album has been very slowly growing on me the more I have listened to it, but there is no way this stands up
against the earlier classic releases, and the answer to that is pretty obvious, no guitarist and lead vocalist Roye
Albrighton and the introduction (for this album only) of guitarist/vocalist Dave Nelson. The vocals were now split
among the four musicians, there was a move to shorter songs and a more melodic rock/AOR approach, while Mick
Brockett was no longer listed as a member of the band although he was still providing the special effects and lights he
had always done, and was not in the band photo.

This 3 CD reissue from Esoteric provides a lengthy essay from Mo Moore plus photos while on the musical front the
first disc contains the same bonus tracks as the 2005 remaster, the second disc contains a live set from Hofstra
University, Long Island October 1977 which was part of the 2014 remaster, while now we also get another live set on
the third disc, this time from The Community Theater, Phoenix, November 1977. As always with anything coming from
Cherry Red, the sound quality is excellent, and the album notes absolutely fascinating (I had no idea the model on the
cover was a young Brooke Shields). But even the appearance of guests Larry Fast (Synergy, Peter Gabriel) and Robert
Fripp (credited under the pseudonym Walt Nektroid) can prevent this from feeling quite bland and uninspiring. Given
what was happening in the musical world at this time it is probably no surprise that this change of direction saw them
lose the momentum they had been gaining from their earlier albums and the band dissolved the following year.

I guess the question is whether this is worth seeking out? For a Nektar fan quite probably, especially for the live sets,
but for the casual onlooker this is probably a pass. There is little in the way of true dynamics, and all the songs blur
into each other. The passion had gone, and it shows. For me it is interesting to hear as I had not previously come
across it, and as I said earlier, I enjoyed it much more after playing it a few times, but now the review is done I doubt I
will ever listen to it again.

ANIMA-SOUND St�rmischer Himmel (Krautrock, 1971)

Fri, 26 Jun 2026 17:44:23 EST

Review by Fercandio46 — As the album begins, you hear heavy rain and the repeated bleating of a sheep, a fitting start for venturing into no-
man's-land, a place where anything, absolutely anything, can happen. After all, it is 1971, and the future is an
unwritten page; percussion, a peculiar trumpet, and a bass line herald a journey that at times feels Eastern or jazz-
infused, yet is steeped in a profound spirituality, reminiscent of the band Hasidic New Wave. It is anything but
conventional; quite the opposite.

Show M]]>��packed with traffic, people, car horns, and even animals; Gong could also be an apt reference. The trumpet on "It
Loves Want to Have Done It" definitely has the sound of Frank London, and there is a sitar, but these are more like
pieces of a puzzle, a work-in-progress whose final form depends on who puts it together. "Feel Like a Bone"
continues with the percussion and horns, but the melody has slipped away; one can see it dissipating like smoke in
the sky, losing all shape... Surpassing even the wildest moments of Can, a primal scream emerges as a liberating
experience.

Light-years away from Thomas Mann, perhaps closer to Hermann Hesse and his initiatory journeys, How to Dream
seems to serve as a vehicle for Gilli Smith's cosmic whispers, like a caravan venturing into the desert where canteens
leak and the destination remains uncertain, for there are no maps.

However, the mystery is revealed upon learning that Paul Fuchs and his wife, Limpe Fuchs, who made up the duo
Anima, were multifaceted artists who invented their own instruments; he is a sculptor, and she is a percussionist. "The
Weather" caps off this unique experience and is interesting for its interplay between the percussion and that peculiar-
sounding bass-like instrument, a feature that holds real value.

THE COSMIC JOKERS The Cosmic Jokers (Krautrock, 1974)

Fri, 26 Jun 2026 17:44:17 EST

Review by Fercandio46 — Artist communes were very common in 1970s Germany; just as one such commune gave rise to a seminal Krautrock
band like Amon D]]>��Rolf-Ulrich Kaiser and Gille Lettman as constant figures, with other musicians participating only occasionally.
The music is a form of "cosmic blues", characterized by floating guitars and synthesizers, that at times strongly evokes
the style of Steve Hillage. This is particularly evident on the track "Galactic Joke," one of the album's two compositions;
the first runs for over twenty minutes, while the second, "Cosmic Joy," lasts nineteen.

Musicians from Ash Ra Tempel and Wallenstein collaborated on the project; notably, Manuel G]]>�and the legendary Klaus Schulze handled synthesizers. Bassist Dieter Dierks was also a sound engineer and record
producer who founded his own studios'facilities where acts such as Ash Ra Tempel, Tangerine Dream, Witth'ser &
Westrupp, Hoelderlin, Wallenstein, Birth Control, Guru Guru, Embryo, and Popol Vuh would record, as well as Klaus
Doldinger with his jazz-rock band, Passport. "Galactic Joke" moves between ethereal, spacey keyboard textures and a
stronger, more structured foundation reminiscent of the band Gong during their You era.

"Cosmic Joy" bears a closer resemblance to Schulze's early solo albums; the project's drummer, Harald Gro]]>�also played with Wallenstein and Ashra Temple, as well as on many of Klaus Schulze's solo records, accounting for the
almost symbiotic synchronicity between the two and resulting in hypnotic duets.

ANIMA MUNDI Once Upon A Live (Symphonic Prog, 2018)

Fri, 26 Jun 2026 12:50:50 EST

Review by rdtprog —
This is a live performance recorded in June 2017 where the band played the full "I Me Myself" and
songs from "The Way," "The Lamplighter," "Insomnia," and 3 unreleased tracks. The stage setup is
made in a special visual design with projections to illustrate the contrast between shadow and
light. This live release explores different styles of music, from symphonic, space, and ambient. You
can hear in some epic songs the influence of the song "Echoes" from Pink Floyd. There is a cinematic
atmosphere throughout the show, which was the band's intention. Don't expect high-definition picture
quality, but the music is the main highlight here. It's been a few years since I have listened to
the band's albums, so I was a bit surprised by the eclectic nature of the music here but very
pleased with the whole live show. He's just sad that the band doesn't make any more music and
stopped touring during the covid virus.

PABLO EL ENTERRADOR Pablo "El Enterrador" (Symphonic Prog, 1983)

Fri, 26 Jun 2026 08:18:39 EST

Review by Hrychu — 1983 wasn't the best year for organic sounding symphonic prog rocking in the so called "Western
World". By the time Pablo: El Enterrador's sole opus came out, every 'big' prog player wanted to
have a streamlined arena pop sound to hit the radios and dance floors, and the only ones who were
doing the big overblown prog rock shtick, were from the poorer areas, like Eastern Europe, or in
this case South America, where the then-current radio trends were a few years behind. But I'm glad
history went the way it did! Because this album is superb. The songs are really well written and
performed. The band did their thing while balancing between the the two following tropes: catchy
hooks and the compositionally dense extended progressive rock bits. I personally believe that it's
not easy to maintain that balance and end up with falling to the pitfall of either having a pop
album with too much unfitting prog fusiony workouts or a prog album filled with simplified hook-
driven padding. That's where Yes failed when they came out with Going For The One. That's where
Genesis failed, when they did And Then There Were Three, imo.

Speaking of Genesis: the piano player Omar Lopez really went to impressively great lengths on how
much that late 70's Tony Banks Yamaha CP80 tone could be emulated. It doesn't sound just like a
wannabe, at times I'm genuinely under the impression of Banks' rig being remotely channeled to
Argentina. However, the Genesis similarities more or less end there and they aren't as obvious in
other aspects of the sonic palette. Jose Maria Blanc's Rioplatese Spanish vocals are a totally
different beast to Phil Collins' mannerisms or even Kim Beacon's Elton John influenced vocal work on
ACF by Tony Banks. In contrast with Genesis' snappy, rhythmical and straight to the point pop/rock
approach and maybe just occasional jazz fusiony moments here and there, the songwriting and chord
change choices on Pablo: El Enterrador are much more on the mellow and soulful jazz fusion side,
with frequent seventh/ninth chord ornaments and swinging solos. At times the sound reminds me more
of the keyboard-dominated Italian prog groups like Festa Mobile, Sensitiva Immagine or Locanda Delle
Fate than of Genesis.

Unless you happen to own the original pressing of the LP on vinyl, in perfect condition, you're out
of luck in terms of the sound quality. The master tapes were lost so all the reissues of the album,
whether digital or vinyl were sourced from a really badly preserved LP copy, run through quite
destructive de-noising on top of that. Shame.

MYRATH Desert Call (Progressive Metal, 2010)

Fri, 26 Jun 2026 05:13:44 EST

Review by arcane-beautiful — In my opinion the best Myrath album is Desert Call. The band's second album and their first with vocalist Zaher
Zorgati, it saw them find a fine line between the chaotic prog metal of their first album, but adding in catchy
hooks, heavy riffs, melodic but complex instrumentation and epic orchestration and focus on Arabic melodies.
While I can see their want to go into a more mainstream sound, I think this album is the perfect mix of the 2
worlds. Zaher Zorgati's vocals are a perfect fit in the band, filling the tracks with great emotion and very
impressive technical and diverse ability. It would be great to see them return to this sound one day, which they
did show promise of on their most recent album. The track I'd recommend is Empty World.

MYRATH Legacy (Progressive Metal, 2016)

Fri, 26 Jun 2026 04:15:50 EST

Review by arcane-beautiful — I feel that this is the album where their newer sound fully took form. Taking their more focused songwriting
based form of power prog metal with symphonic and oriental textures, I believe they took the place of the
sexier side of the prog power metal world that Kamelot had with Roy Khan in the band. Overall the songwriting
is pretty fantastic, with each song having great hooks, musicianship and masterclass vocals from Zaher Zorgati.
While it has a more focused sound, there are moments where Malek Ben Arbia & Anis Jouini are able to show
off some nice technical guitar and bass interplay. The production is pretty great too, even if on the CD version
there's a massive drop in volume after the intro instrumental. The track I'd recommend is Believer.

PORCUPINE TREE Up the Downstair (Heavy Prog, 1993)

Fri, 26 Jun 2026 04:09:12 EST

Review by VianaProghead — Review N]]>�
Porcupine Tree is an English progressive rock band that was formed in 1987 in Hemel Hempstead, Hertfordshire.
This is undoubtedly Steven Wilson's most successful and projected musical project of all, as evidenced by the band's
popularity. Porcupine Tree consists of a mixture of progressive rock, psychedelic rock, avant-garde experimentalism
and heavy metal. It's defined by many fans of the progressive rock community and by the band's members
themselves as an art rock music style. The official debut studio album of the band "On the Sunday of Life..." was
released in 1992. Porcupine Tree initially remained a Wilson's one-man project. So, the line up on "On the Sunday of
Life..." was only made of Steve with some other musicians as guests. The same happened with their second work
"Up The Downstair".

So, "Up The Downstair" is the second studio album of Porcupine Tree that was released in 1993. The line up on "Up
The Downstair" is composed by Steven Wilson (vocals, guitar, bass guitar, keyboards and drum programming). "Up
The Downstair" also has the participation of some other musicians. So we also have here the presence of Suzanne
Barbieri (vocals), Richard Barbieri (electronics), Colin Edwin (bass guitar) and Gavin Harrison (drums), as guests.

Although "Up The Downstair" was preceded by "On The Sunday Of Life...", Wilson sees "Up The Downstair" as
Porcupine Tree's actual debut album by Porcupine Tree. After all, in the booklet of the most recent edition of this
album he says that he cannot consider "On The Sunday Of Life?" as the real debut of the band, because that album
consists of old previously recorded material from the period between 1988 and 1991. "Up The Downstair" contains
ten songs on which Wilson tries to achieve a daring and well-thought-out synthesis between quite diverse music
genres such as ambient, dance, electronic, krautrock, prog rock, psych rock and space rock. The album almost
constantly moves back and forth between the youthful open-mindedness on the one hand and the mature
ingenuity on the other. "Up The Downstair" incorporates some new components that are a herald of the more
streamlined sound on their later works.

"What You Are Listening To..." is a short intro that fulfills the role of showing what to expect from the album and
where someone presents what will be its music. Its synthesizers allow it to blend subtly with the next track.
"Synesthesia" has a catchy beat, an exciting rhythm guitar and sensational solos performed by Wilson. This song
comes with a somewhat simplistic rhythm, but the noticeable combination of pop and Floyd extractions, especially
the beautiful Floydish guitar steered by the inclusion of electronic elements, makes up for it. "Monuments Burn Into
Moments" with just 22-seconds, can be called as a kind of a "preparation track" for the next one. "Always Never" is a
strong song with clear Pink Floyd reminiscences. This is a spacey and a fantasy song, with the acoustic guitars and
climatic synths paving the way until heavy riffs invade the soundscapes in a sweeping explosion accompanied by
prominent powerful drums. The title track is a 10-minute instrumental track that begins with ambient sounds. Then,
an electronically generated choir intones a sombre melody that runs through the rest of this title. After a while, a
rather simple rhythm sets in, but numerous electronic effects and a choir that keeps appearing give the piece an
extremely dense, fascinating atmosphere. "Not Beautiful Anymore" reverts to the spoken verse at the beginning,
until energizing drums open up a more exciting rock section, with the bass line and slightly distorted guitar riffs
providing a great moment. "Siren" is a short ambient piece, a strange but concise intro to the next track, as
happened with "Monuments Burn Into Moments". "Small Fish" has a Floyd atmosphere. It's not particularly complex,
but the spherical keyboards, Gilmour's guitar work, Steven's melodic vocals and its spatial sound texture are draws
and fascinate. "Burning Sky" is an instrumental that starts slower and spacey with synthesizers, but soon after
offers a strong guitar and the splendid drums of Harrison. It works in repetition of chords, yet, in each movement of
the musical segments the textures are enriched by the sound effects. "Fadeaway" ends the album with delicate
keyboard sounds, gentle guitar and Wilson's almost whispered vocals. It has a sad, solemn beauty that stays with us
after the album is finished, making it a great closing track with its space atmosphere.

Conclusion: "Up The Downstair" shows Steve Wilson displaying all his inventive side and technical ability in a very
consistent album. Perhaps the great virtue of this work is the ability to create an absolutely unique experience,
based on sound atmospheres notably influenced by Pink Floyd and Ozric Tentacles, integrating different styles in
smooth compositions and great combinations of ethereal and traveling keyboards, climatic drums and space
guitars. The emphasis on an atmosphere built around an addictive and connected set of tracks, while still
possessive of a somewhat immature sound, was a step forward in relation to "On The Sunday Of Life..." and
certainly a step in the right direction. With "Up The Downstair" Porcupine Tree shows why they belong to the most
important prog rock bands of the 90's.

Prog is my Ferrari. Jem Godfrey (Frost*)

MYRATH Shehili (Progressive Metal, 2019)

Fri, 26 Jun 2026 03:48:41 EST

Review by arcane-beautiful — The follow up to Legacy, it saw them follow down their more accessible sounding take on Arabic tinged prog
metal with great hooks, symphonic textures and great production. I always believed that after their change in
sound, that Myrath took the place of Kamelot after Roy Khan left, with a more streamlined take on the
symphonic prog power metal sound, but with a middle eastern shine, or North African in their case. The stand
out track is You Lost Yourself, which shows off very powerful commanding vocals from Zaher Zorgati, proving
him to be one of metal's most underlooked vocalists. Its overall a great continuation to the sound they
encompassed on Legacy, but with a few differences that make it stand out

RIVERS OF NIHIL Where Owls Know My Name (Tech/Extreme Prog Metal, 2018)

Fri, 26 Jun 2026 03:15:30 EST

Review by A Crimson Mellotron — The third chapter in Rivers of Nihil's tetralogy of albums representing the four seasons is the
ambitious and sombre progressive death metal opus 'Where Owls Know My Name', which is the record
depicting autumn. This is a relentless conceptual album that offers a relatively accessible
technical sound replete with aggressive riffs, soothing saxophone solos, fabulous mellotron
interludes, and overall sophisticated arrangements. Furthermore, Rivers of Nihil combine beautifully
harsh vocals with clean ones, and often include atmospheric, keyboard-laden passages, which by
itself echoes the poignant sound of retro prog. Ideally, this album reminisces the unthinkable
musical marriage between Camel and Meshuggah - emotive melodies, introspective lyrics and
psychedelic undertones are combined with an overt technicality and death metal dynamics.

Now, such eclectic extreme metal albums often remain misunderstood, and I believe it is precisely
because of the fusion of two disparate musical universes. Yet 'Owls' offers an elegant and evocative
sound that bridges these two universes in a masterful way, even if the production style on this
album is rather old-school. Of the ten tracks appearing on this LP, there are two shorter
instrumentals that serve either as an introduction (the first track) and an interlude (track six),
while all of the remaining eight songs feature vocalist Jake Dieffenbach who basically delivers a
crushing performance all throughout. Some of the excellent compositions on this record include 'The
Silent Life', which is a song that combines the brutality of Rivers' riffs with their extravagant
prog pedigree, and captures the first of several gorgeous saxophone solos. We then have 'A Home', a
song that is slightly darker, with a dense and heavy writing, and the epic 'Subtle Change', which is
an eight-minute-long track with a complex structure and some hauntingly moody parts, and remains one
of the band's most progressive-minded pieces. The instrumental 'Terrestria III: Wither' is
interesting interlude, once again playing with that ominous atmosphere that the album thrives
within, while the final minutes feature no less excellent songs like 'Death Is Real' and the near-
perfect title track. What I appreciate the most about 'Owls' is the incorporation of psychedelic,
fusion, and prog elements as well as the moody metallic sound, which to me makes this one of Rivers
of Nihil's most remarkable releases to date.

MYRATH Hope (Progressive Metal, 2007)

Fri, 26 Jun 2026 03:05:13 EST

Review by arcane-beautiful — The band's first album, it was made as a 4 piece before Zaher Zorgati became their lead singer, and keyboardist
Elyes Bouchoucha was on vocal duties. While Bouchoucha doesn't have as strong a voice as Zorgati, it still is
good in places, reminding me of a thrash metal vocalist from the 80's at some points, but his weakness at times
does show. Other than that, the music is pretty outstanding, with great technical play offs between Bouchoucha
& guitarist Malek Ben Arabia, showing off great technical and at times neo classical styles. Musically it reminds
me of Haken's debut Aquarius, with a chaotic feel to it throughout, but a controlled feeling as well. Overall it's a
very impressive debut that may be sleeped on. The track I'd recommend is My Inner War.l

FATES WARNING Still Life (Progressive Metal, 1998)

Fri, 26 Jun 2026 00:20:17 EST

Review by UMUR — "Still Life" is a double album live release by US progressive metal act Fates Warning. The album was
released through Massacre Records in October 1998. It bridges the gap between Fates Warning]]>�and ninth full-length studio albums "A Pleasant Shade of Gray" (1997) and "Disconnected" (2000).
Disc 1 features a live performance of the full "A Pleasant Shade of Gray" album while disc 2
features six tracks from the band]]>�Guardian" (1986). So, basically songs from all Ray Alder fronted Fates Warning albums (up until
then) and one track from a John Arch fronted Fates Warning album.

As if a full performance of the 51:56 minutes long concept album "A Pleasant Shade of Gray"
including all sub-tracks wasn]]>�of their second longest epic, the nearly 21 minutes long "The Ivory Gate Of Dreams", so it]]>�say Fates Warning are firing on all cylinders on "Still Life". As for the remaining tracks it]]>�always hard to satisfy every fan when you are eight albums into your career and that career is
divided into two chapters with two different vocalists, but I]]>�Hour", "Monument", and "Point Of View" belong here just fine and the nod towards the Arch-fronted
era of Fates Warning with "Prelude to Ruin" is a nice touch too, although hearing Ray Alder sing the
song takes some getting used to. He does a great job though and provides the song with his own
identity.

Fates Warning was down to a trio at this point (Lead vocalist Ray Alder, Drummer Mark Zonder, and
guitarist Jim Matheos), but on "Still Life" they are assisted by three session musicians and the
musical performances are on a high level throughout. Bassist Joey Vera (who would soon become a
permanent member of Fates Warning) sings harmony vocals, which is an important detail as a lot of
Fates Warning]]>�though. The best example of that is probably when they sing the beautiful and epic wordless part on
"The Eleventh Hour". I]]>�them. There]]>��album which actually feels like it was recorded live without too many overdubs despite featuring an
excellent live production job. "Still Life" is upon conclusion a high quality live album from Fates
Warning and a 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives).

KRAFTWERK Ralf and Florian (Progressive Electronic, 1973)

Thu, 25 Jun 2026 18:29:57 EST

Review by Fercandio46 — There is much talk of Kraftwerk, a band better known by name than for the music itself, especially regarding their
early albums, since the material that truly broke through to the mainstream came from their mid-to-late 70s
releases. Yet, it is their third ]]>�"electronically progressive" work, it is the first where we hear layered sounds alongside distinctly symphonic
keyboards, Minimoogs, flutes, and a wealth of percussion enriching the final product. Listening to it feels like
stepping into the primordial world of early technology and the magic of that rudimentary era, a magic that can
never be recaptured, no matter how much technology might later surpass it. "Electric Roulette" plays with all these
elements, evoking the climax of a science fiction film. The countless bands influenced by Kraftwerk likely
outnumber those that influenced them, such was their level of innovation within that specific corner of the genre
known as Krautrock, a realm that also made room for screens, knobs, and tangles of cables.

The flute on "Mountain of Sound" (Tongebirge) creates a psychedelic atmosphere, as well as one of transcendental
meditation reminiscent of the sound cultivated by Gong, with notes suspended endlessly on the horizon.
"Crystal" (Kristallo), mimicking an electronic clavichord, draws us into the very essence of electricity, as if we could
travel through the wiring, while the keyboards take on a funk-like air that never fully asserts itself; instead, the
sound remains ethereal and floating, more at home in the shadows. In the hands of others, experiments of this
style often caused the melody and rhythm to lose their way, yet these two managed to experiment and innovate
without ever abandoning harmony.

"The Bells of Home" (Heimatklange) evokes a dreamlike atmosphere, almost reminiscent of their peers in Popol
Vuh, while "Dance Music" (Tanzmusik) features the timeless modernity of a drum machine; yet, combined with the
percussion, it ultimately resembles the curtain of a Japanese palace being drawn back before us. There is a choir,
too... and its presence lends the piece an otherworldly, subterranean quality.

The lesson repeats: within repetition, there are variations... within repetition, there are variations...

India merges with China in Pineapple Symphony (Ananas Symphonie), and the technology, along with the
crescendo of keyboards, gives it a curiously contemporary feel; yet, it is a suite comprising several unlisted
movements where Hawaiian-style flourishes twist and warp the melodies, a feature that invites comparison to
Klaus Schulze's Cyborg.

Still stopping short of extreme minimalism and remaining analog, the duo found a symbiosis that marked a turning
point in that stylistic shift, a shift that always has a starting point.

WOMEGA A Quick Step (Eclectic Prog, 1975)

Thu, 25 Jun 2026 15:53:40 EST

Review by Sean Trane — Another one of these one-shot from deep Flanders, like Mad Curry ans Shampoo, though these guys are
totally unrelated (and appearing on the scene a few years later, but if I make a link, it's a bit
because it's also musically as crazy and eclectic as the other two mentioned. Indeed, we're dealing
with a slight Canterbury touch, some Latino-world passages (Along Came You), some ZOLO moods &
silliness, some Flamenco (Bagatel), Some hard-blues (Tearful Thoughts) shifting towards fun-filled
yacht rock (Tu Quoque >> You Too).

Despite t]]>�it's still fairly amateurish, but that doesn't mean it's not enjoyable. Nothing essential, if you
ask me.

JON ANDERSON Jon Anderson and The Band Geeks: True (Prog Related, 2024)

Thu, 25 Jun 2026 14:41:16 EST

Review by gbjones — Don't waste your time. This is easily the most overrated album of 2024. It's not even that progressive, really, since
it's just Jon Anderson singing. There's not much else in the way of actual music here. If you're not that familiar with
his past works both for Yes and as solo you might think you have stumbled on something good, but if you're a Yes
sophisticate you will see what I mean. The vocals that are here are but recycled melodies from past solo albums
and past Yes albums. Its as if someone took all of Andersons past material, fed it to an AI generator, and told AI to
"please produce a new album for me". I have a personal policy against giving one-star ratings but boy am I
tempted because nothing excited me less than a lack of originality.

ELDER Reflections of a Floating World (Heavy Prog, 2017)

Thu, 25 Jun 2026 03:44:08 EST

Review by The Crow — A breathtaking journey where stoner rock embraces progressive grandeur!

Released in 2017, Reflections of a Floating World saw Elder pushing even further beyond the formula perfected
on Lore. The band's stoner foundations remain unmistakable, but they are increasingly wrapped in progressive
rock, psychedelia and vintage keyboard textures. Rather than chasing immediate hooks, Elder focus on
atmosphere, intricate arrangements and immersive compositions, resulting in their most overtly progressive
album to date.

Sanctuary immediately expands the musical horizons of its predecessor, introducing Mellotron-like textures and
an even more sophisticated approach before concluding with a beautiful space rock finale. The Falling Veil raises
the bar even higher, combining memorable stoner riffs with adventurous songwriting and a psychedelic middle
section before reaching a wonderfully epic conclusion. Staving Off Truth maintains the momentum through
another captivating journey, while Blind stands as the album's masterpiece. Its irresistible opening riff, majestic
instrumental passages, Mellotron-filled verses and even touches of Hammond organ perfectly capture Elder's
evolution into a fully fledged progressive rock band without sacrificing their heavy roots.

The only real stumble comes with Sonntag, an instrumental that feels more like an extended jam than a fully
developed composition. While it provides a change of pace, it interrupts the album's remarkable momentum
and contributes little beyond stylistic variety. Fortunately, Thousand Hands immediately restores the record's
grandeur. Its outstanding opening riff, beautiful acoustic guitar passages and triumphant atmosphere provide a
thoroughly satisfying conclusion.

Conclusion: what makes Reflections of a Floating World so special is its unique ability to evoke places,
landscapes and adventures through music alone. Few bands can transform riffs into such vivid mental imagery,
and Elder achieve that effortlessly throughout most of the album. While it sacrifices some of the immediate
catchiness of Dead Roots Stirring and Lore in favor of greater sophistication, the reward is a richer and more
immersive listening experience.

Apart from one minor misstep, this is another outstanding chapter in one of modern heavy music's finest
discographies.

Best Tracks: Blind, The Falling Veil, Sanctuary.

ALBION Lakesongs of Elbid (Prog Folk, 2024)

Wed, 24 Jun 2026 20:18:26 EST

Review by kenethlevine — After a series of EPs and singles in the early 2020s, most of which were arrangements of traditional or traditional
sounding British Isles folk, this London quintet released a debut full length album which inevitably seemed more
mature than your typical coming out production. Moreover, with 2 members of latter day JETHRO TULL lineups,
they had studied under the right masters, albeit well past their peak. But to suggest a pure bloodline here
would be to shoehorn a half century of influences whether personally lived or appreciated after the fact.

Thus when I listen to this 70 minute opus with a Welsh GPS address but no Welsh lyrics I can discern, I hear
mashups of the distant and recent past, from TULL (with more conventional and palatable vocals than even 1968 Ian) to CLANNAD to TEMPEST to MAGO DE OZ, NIGHTWISH and TORNAOD, to CIRCULUS and THOBY LOTH,
but always being themselves. While some veers a tad towards silly Tolkienisms, so did our shrouded heroes, time
and again, so we can forgive ALBION for these indulgences, not to mention for taking the same name as a
consummate Polish neo prog group (is there any other kind?) as well as a primeval more closely allied UK folk rock project THE ALBION BAND, a group I cannot mention without plugging their 1978 masterpiece "Rise up Like the Sun".

Even if part of ALBION's prog credentials stems from a librarian's over the glasses glance at track and album length, which can be
accused of bloat (also not an unfamiliar concept in our realms), this is still a catchy yet solemn blend of prog, folk,
and metal, best shepherded by "Pagan Spirit", "The Dream of Rhonabwy", "Finding Avalon", "Black Lake", "Llyn Y
Fan Fawr". As much as these impress, it's the tribute to the great Canadiana singer/songwriter STAN ROGERS in a
debauched version of his "Barrett's Privateers" that hits escape velocity. While Rogers, who died in an Air Canada
crash in the early 1980s, was always voluntarily constrained by his wordsmithery that required every meaning
wrung out of every phrase, ALBION wisely chooses to instead rely on a hard rock arrangement that only fortifies
Rogers' legacy while perhaps hotwiring their own.

I'm going to round up from roughly 3.5 stars because I genuinely appreciate the attitude here, and it
delivers much more of a musical itinerary than mere descriptions promised. Lake house music for those who
resent their neighbors.

YES Aurora (Symphonic Prog, 2026)

Wed, 24 Jun 2026 20:17:57 EST

Review by Stoneburner —

I'm not going to talk about the history of Yes, nor about Jon Anderson's impressive solo career with The
Band Geeks, and I'm not going to compare this album with other progressive rock classics. I'm going to
immerse myself completely in *Aurora*, the new Yes album.
*Aurora* is the band's 22nd studio album, their fifth without their classic vocalist Jon Anderson, and their
fourth with former Glass Hammer singer Jon Davison. The album was released last week, and I've already
listened to it enough times to be able to talk about it properly.
Let's take it one step at a time? The cover and packaging are wonderful. The cover, featuring the Northern
Lights and designed by Roger Dean, is perhaps one of Yes's best album covers. The album consists of eight
songs and two bonus tracks.

The track list:
1.- **Aurora** ? Davison / Howe ? 7:25
2.- **Turnaround Situation** ? Davison ? 5:48
3.- **Love Lies Dreaming** ? Davison / Howe ? 6:24
4.- **Countermovement** ? Davison / Howe / Downes / Sherwood / Schellen ? 13:44
i. **Taro** ? Howe
ii. **Anytime Soon** ? Downes / Howe
iii. **Blink of an Eye** ? Davison / Sherwood / Schellen
iv. **Freedom's Edge** ? Howe
5.- **Ariadne** ? Davison / Downes / Sherwood ? 6:14
6.- **All Hands on Deck** ? Howe ? 3:03
7.- **Outside the Box** ? Howe / Sherwood ? 4:18
i. **Light** ? Howe
ii. **Outbox** ? Howe / Sherwood
8.- **Emotional Intelligence** ? Davison ? 3:30
Bonus tracks:
9.- **Jambustin'** ? Davison / Howe ? 4:22
10.- **Watching the River Roll** ? Sherwood ? 4:40
Total length: 59:28

With a total runtime of approximately 60 minutes, this album features Jon Davison on vocals, guitars, and
keyboards; Steve Howe on guitars and vocals; Geoff Downes on keyboards; Billy Sherwood on bass and
vocals; and Jay Schellen on drums. The Czech National Symphony Orchestra also appears on tracks 1 and 5.
The album was produced by Steve Howe and mastered and mixed by Curtis Schwartz.

Let's dive into *Aurora*. The album opens with **"Aurora,"** one of the most powerful songs Yes has
made during the Jon Davison years. It's an interesting track with a symphonic opening, good backing vocals,
and an entertaining melody.

Next up is the other lead single, **"Turnaround Situation,"** another interesting track driven by a kind of
Hammond organ sound. Perhaps this is the song where Geoff Downes' presence behind the keyboards is
most noticeable: beautiful melodies, strong backing vocals, and a very well-crafted.

Despite having a beautiful melody and very interesting guitar work from Howe, **"Love Lies Dreaming"** is
the track that least captivated me on the album. It sounds like a song from another band, not the Yes I
expect or the Yes I'm somewhat familiar with.

Then comes the almost 14-minute epic, **"Countermovement,"** a great electro-acoustic intro courtesy of
Steve Howe, where he showcases all his guitar skills. He also sings the first part of the song; he's not a great
singer, but here he sounds quite decent. After many years, he sounds good to me. The vocal interplay
between Howe, Davison, and Sherwood is very good. Downes also appears here with a moment of good
keyboards in the middle of the song, and towards the end, the song starts to decline in the last two or three
minutes, ending with a coda that fades into a steel guitar.

**"Ariadne,"** the fifth song, is a beautiful piece, perhaps the best on the album, with a symphonic intro
that returns throughout the track, surrounded by intricate vocal and guitar arrangements.

Next comes **"All Hands on Deck,"** a track composed by Howe that sounds like a leftover from another
session but sounds great and it is another highlight unfortunately too short.

**"Outside the Box"** follows, a very interesting instrumental in the vein of 80s Yes.

The album closes with **"Emotional Intelligence,"** a song composed by Davison, a lovely piece featuring
piano and acoustic guitar, likely played by Davison himself and accompanied by the band?a fitting end.

The first bonus track is **"Jambustin',"** an catchy song with several sections and changes, featuring
interesting vocals.

The other bonus track closes the album: **"Watching the River Roll,"** a song written by Sherwood, a realy
good track with great guitar work from Howe.

After listening to the album, I decided not to fight the inevitable, and after some deep reflection, I
surrendered to what this album is?.

Based on that and my critical mind, it's a naive album without great sonic or commercial pretensions; it's a
creative outpouring without memorable songs, but sometimes pleasant to listen to.

*Aurora* is another album in the Jon Davison era, perhaps the best since he joined Yes, nothing more.

KATE BUSH Never For Ever (Crossover Prog, 1980)

Wed, 24 Jun 2026 18:28:27 EST

Review by Fercandio46 — From the very start, it sounds like a classic; it strikes first with Babooshka, then strikes twice. That is how Kate
Bush's third album, Never For Ever, begins, a title that sounds like a line from a fairy tale... and in a way, that is
exactly what this album is: teeming with literary references and poetry turned into music, as lyrical and magical as
Kate herself.
There are elements that make this record instantly recognizable: John Giblin's fretless bass, and the inclusion of
jazz-rock musicians like Max Middleton and Morris Pert in settings that sometimes even bordered on punk,
alongside new wave.

The vocals, the effects, the synthesizers, and above all, Kate Bush's voice and aura, made this album something
special; a doorway to another dimension would open and close once we stepped inside. Everything sounds so
modern?blended into a chaotically ordered mass where it is sometimes hard to appreciate the important work of
the Martin Ford Orchestra, which is particularly vital on Blow Away.

All We Ever Look For features a distinctly Eastern, specifically Japanese, element alongside the classical
instrumentation; the synthesizer emulating a harpsichord, combined with the modern touch of that synthesized
whistle, gives the track a timeless quality.

If you strip away the Eastern melody, Egypt features the harmonies of a fusion track, and is played like one; in fact,
throughout the album, that multiplicity of influences serves the song itself, which accounts for part of its
effectiveness. It achieves exactly what it sets out to do.

It knows when to lose itself... and find itself again in Wedding List. There is something distinctly German about the
floating harmonica in the chorus?a sound that would go on to heavily influence Tori Amos.

Violin sounds punk, the bass is driving and fast-paced, the guitar has a glam feel, and her vocal delivery... can a
single track shape the future course of a style as much as Infant Kiss does? The use of the backing vocals, the way
they converse with her and she with them, while both interact with the piano, is almost cinematic.

Army Dreamers is my favorite track on the album?the one that comes to mind first when I think of it. Despite the
high energy of the preceding tracks, there is something primal about the classical influences that allows the music
to resonate more deeply and endure longer.

On an album filled with such light... Breathing ends on a dark, dramatic note, featuring the bass and keyboards
that permeate every track and a chorus that could fit perfectly onto David Bowie's Scary Monsters. Yet, despite the
array of influences and moods explored, it proves to be remarkably cohesive, compact and precise, part of a world
of fantasy and nightmares made real for those of us who desire it.

THE SOFT MACHINE Seven (Canterbury Scene, 1973)

Wed, 24 Jun 2026 18:24:17 EST

Review by Fercandio46 — With only Mike Ratledge remaining from the original lineup, Soft Machine was constantly reinventing itself?and its
sound along with it. A progressive jazz-rock style defines "Nettle Bed," where the synthesizer plays a prominent role,
bordering on electronic psychedelia; a similar approach appears in "Carol Ann," a track with a near-ballad feel
reminiscent of Joe Zawinul's work with Weather Report.

Roy Babbington's bass and Karl Jenkins's baritone sax on "Day's Eye" began to make a real difference; that bass sound
meant Elton Dean wasn't missed quite as much. Although each had his own style, Soft Machine was an entity flexible
enough to make room for both and adapt accordingly.

The keyboard work, weaving and snaking between the bass and drums before coalescing back into a trio, defines and
redefines the Canterbury sound; you can nod your head and keep the beat for hours without needing an electric
guitar. The oboe in "Tarabos" leads the rhythm?which could easily be likened to a dense, deep descent into heavy
jazz-rock, if such a term existed. The Oriental percussion by D.I.S. prepares us for the "fusion of fusions" that is "Penny
Hitch," as it contains elements of Krautrock and the wilder, rawer sound of early Passport.

"Block" is another highlight of this era for the band; performing as a quartet, they played at a rapid pace, exploring
multiple musical directions simultaneously and delivering a sound that was 100% Canterbury?driven by keyboards
that struck like lightning, reaching everywhere and leaving no corner untouched.

Roy Babbington's acoustic bass is omnipresent, shaping much of the album's sound; "Down the Road" is no exception,
with a central melody repeated like a mantra, its subtle rhythmic variations telling the story. It is a story of
deconstructing and reconstructing oneself: from Canterbury to Krautrock, from jazz-rock to guitar-less rock, to funk
and psychedelia. With every saxophone and keyboard note, the planets aligned, leading up to "The German
Lesson/The French Lesson", revealing a mathematical path that ultimately reaches the spirit.

YES Aurora (Symphonic Prog, 2026)

Wed, 24 Jun 2026 15:39:14 EST

Review by gbjones — A good album. I think its mostly at Howe's direction that each song is individually wrapped, highly enjoyable,
pleasant, and listenable. In addition, there are good guitar solos woven throughout. The last two tracks are
optional, but they are just as good as the earlier tracks, so Im not sure why those are extra tracks. Davison
participates heavily in the songwriting for the first time and does a good job. Ariadne, Love Lies Dreaming, and
Countermovement stand out as having excellent guitar and instrumentals but let me reemphasize there are more
than just three good songs. Im doing something a bit unusual this time and Im giving the album a five-star rating.
Its actually a four-star album, or most accurately s 3.6, but I have to give it five stars to outweigh those persons
who are giving this album a oner. For sure, it isn't Close to the Edge or Relayer, but there's really no excuse for
giving a one-star rating. The system notifies you before doing so and it tells you this is potentially harmful to the
artist and should be withheld unless absolutely necessary. Let me give some appropriate reasons for a one-star
rating: the album is harmful to society in a direct tangible way; national security is implicated; it drives a wedge
between you and those around you; your life is now worse off that you have listened to it; it is noise and not
music; it was demonstrably stolen from another artist. If it doesn't fit one of these reasons it should not receive a
1-star rating. Thank you for reading my review and thank you to Steve and the others.

TERJE RYPDAL Terje Rypdal and David Darling: Eos (Jazz Rock/Fusion, 1984)

Wed, 24 Jun 2026 09:58:11 EST

Review by BrufordFreak — A teaming up that makes my mouth water. Though there is a lot of unexpected sound going on here, It does not disappoint.

1. "Laser" (4:08) weird heavy distorted rock guitar chord play: Terje tout seul. I've done this hundreds of times. In my
opinion this exercise has no business being set to vinyl. I know David Darling is a pretty open-minded, laid-back dude,
but I would not want my name associated with an album that had this on it. (8.375/10)

2. "Eos" (14:33) now this is totally what I was expecting from this duo--at least the first four minutes: cinematic in the
most deeply emotional and mood-setting way possible. Then, when Terje's moonlanding guitar (heavily-treated) joins
in we get an odd distortion of the sonosphere. The sixth minute seems to be left open in order to let all of the
sustain/reverb effects decay (as far as they can get them to decay). Then David re-enters with his cello, with the
original notes echoing and reverberating for long periods of time, sometimes feeling as if they're regaining power (as if
being looped) to which Terje responds in the eighth minute with some nice MIKE OLDFIELD-like electric guitar play.
Another cool aural experience. (27/30)

3. "Bedtime Story" (6:03) this beautiful piece sounds as if the two musicians were using two classic songs from
Classical Music to inspire their play: the adagio from Rodrigo's"Concierto de Arunjuez" and Puccini's "E lucevan le
stelle" from his opera, Tosca. Beautifully, emotionally rendered from both contributors. (9.625/10)

4. "Light Years" (4:53) a slow emerging bowed cello note starts this one off before Terje's Casio synth presents some
slow-attack, long-sustain "strings" chords. In the second minute David begins to bow-solo his cello with a Classical
Music flare while Terje's chords seemingly-randomly enter and decay, leaving a lot of open space for long decays and
occasional long notes from David's cello. The treatment of his cello is varied: from reverbed to distorted and other
nuances I don't know the names for. Kind of a cool sonic experience. (8.875/10)

5. "Melody" (2:23) back to rendering inspiration from classical music pieces; like a variation on "Bedtime Story."
(8.875/10)

6. "Mirage" (9:15) opening with some pizzicato bass notes played on the untreated acoustic cello. David turns this to a
spacious, patient exploration of a particular chord before Terje enters with some heavily-treated ANDY SUMMERS-like
guitar notes and chords, spaced apart quite a bit. In the second half, both David and Terje add more melody lines to
create more of a weave with secondary (and even tertiary) tracks, which is nice (until Terje's obnoxious and dominant
fuzz lead guitar appears in the seventh minute). Thankfully, they chose to end the song by slowly reversing the
layering, which is nice. A long-time super-fan of David Darling's solo work, this sounds rather a lot like the work David
was doing tout seul for his 1990s and 2000s albums. (18/20)

7. "Adagietto" (5:02) the most POLICE/ANDY SUMMERS-like song on the album, here Terje is in the leadership role
while deep cello notes and synth wash chords back him up. This is the kind of song that, in my opinion, displays Terje's
genius best; lots of sensitive and masterful note manipulation and play. (9.125/10)

Total Time: 46:17

B+/4.5 stars; a near-masterpiece of experimental sound-forming that borders on New Age music but really is more
befitting of association with the experimental free jazz work Terje spent the Seventies exploring.

JAN GARBAREK Paths, Prints (Jazz Rock/Fusion, 1982)

Wed, 24 Jun 2026 08:57:21 EST

Review by BrufordFreak — Jan is transitioning: airing out his free jazz ghosts, moving through the mellower side of Weather Report, approaching
the vast expanses of the New Age music movement.

1. "The Path" (7:11) Bill Frisell's atmospheric electric guitar picking (on what sounds like a fretless guitar) with Eberhard
Weber's patented fretless bass wanderings provide a pretty New Age foundation for Jan and John Christensen to play
over. Jan's noteplay on his soprano sax is, I have to admit, extraordinary for the length of his breath-holding and note-
bending, but it's really all made effective by the extraordinary foundational feather bed that Bill, Eberhard, and John so
magically provide. (13.75/15)

2. "Footprints" (10:06) the first four minutes of this song feels like some really great "sophisticated" (or, at least,
thoughtful) New Age music with water drums and talking drums, gentle cymbal play and rim shots, sensitive volume-
controlled guitar note play, and Eberhard Weber's ethereal "underwater" fretless bass play, but then Jan enters with
his annoying sonorous sax. (Why do I dislike the saxophone so much? Because it sounds like the most nasally human
voice--especially the soprano sax.) The end is great. So, six minutes of this are worthy of sublime superlatives, four are
irritating. How should I rate it? (18.125/20)

3. "Kite Dance" (5:35) opening with a cinematic (Burt Bacharach's Arthur OST-like) melody line from Jan's soprano sax
which is soon joined by a WEATHER REPORT-like weave from Bill, John, and Eberhard. Though this is more like
Weather Report's late 1970s Jazz Fusion it is light, airy, and giving away the hint that this was the kind of music that
helped launch and empower the New Age musical movement. I like that Bill Frisell finally gets some solo shine (in the
fourth minute) and that John Christensen gets to show off a little of his tremendous drumming skills. (9/10)

4. "To B.E." (3:10) Bill's volume-controlled (slow attack) electric guitar chords support Jan's sax soloing all by himself. It's
nice but nothing innovative or very exciting. (8.75/10)

5. "The Move" (6:39) continue the playing of Bill and Jan from the previous song but then add John and Eberhard
playing a rather dirge-like plodding rhythm track and seeing a totally new melody line to Jan's main melody (which is
later picked up/doubled by Bill's guitar). Weird to hear this kind of drum/percussion sound combination as well as
Eberhard's almost "normal" fretless bass play. Nice note from Jan at the three-minute mark and then the "weaker"
trills afterward, just before Bill and Eberhard's solos. I like it in the final third, after Bill and Eberhard's solos, when
Bill's guitar play mirroring of Jan's main melody becomes more forceful. (8.75/10)

6. "Arc" (5:01) airy, spacious bass and guitar open this before John's congas and Jan's unobtrusive (non-lead) sax notes
join in. There is a feeling here similar to the ambient works of David SYLVIAN (Disc Two of Gone to Earth; Rain Tree
Crow). Nothing very remarkable here except for the unusual restraint being supplied by Jan Garbarek (not jumping
into the lead position). (8.667/10)

7. "Considering The Snail" (6:30) another song that finds Jan and crew reverting back to Late 1970s WEATHER REPORT-
like mellow Jazz. Bill, John, Eberhard, and Jan sound/feel more distant from each other than ever before on this album
(like the loosely-structured atonal Free Jazz Jan was into in the beginning of the Seventies). (8.6667/10)

8. "Still" (6:18) more separate-universe playing, everybody responding to Jan and yet very free to choose their own
independent expressions. John's percussion work seems the most out of place while Eberhard feels more attuned to
Jan's work. Bill just feels reactive (though I do like the Don Juan's Reckless Daughter-like placement of some of his
dissonant chords). (8.875/10)

Total time 50:30

B+/four stars; an excellent representation of transitional Jazz/Jazz Fusion, going from dissonant Free Jazz through
Weather Report Fusion Lite into the birth of the New Age dominance.

JAN GARBAREK Legend Of The Seven Dreams (Jazz Rock/Fusion, 1988)

Wed, 24 Jun 2026 07:12:58 EST

Review by BrufordFreak — Jan tries his hand at the New Age sound.

1. "He Comes From The North" (13:34) typical airy sax fare from Jan with the benefit of a Nan]]>�base to make things different/interesting. (26.25/30)

2. "Aichuri, The Song Man" (5:03) Jan playing around with computer sequencing and MIDI technology and sound
treatment programming! He must have gotten inspiration from PETER GABRIEL's recent soundtrack musics (Birdy, The
Last Temptation of Christ). So, who's playing the accordion (or, rather, is the accordion sound being played by an
electronic-MIDI saxophone)? Not bad! (8.875/10)

3. "Tongue Of Secrets" (8:07) ambient cinematic music using synthesizers, mallet and two wood block percussion, and
bowed double bass, over which Jan blows an airy clay flute. Later Eberhard, Jan, and Nana produce other sounds from
within the studio which add mystery and motion to the otherwise quite still piece of time keeping. I like it! (13.25/15)

4. "Brother Wind" (8:03) Rainer and Nan]]>�opening notes--producing a pastoral sound like a WINDHAM HILL song. Around the two minute mark the weave turns
to Rainer's MIDI "hammered dulcimer" (and maybe a real zither played by one of the other trio members) for a bit
before returning to the drone, cymbal play, and saxophone a minute later. During this section we hear some of Jan
and Rainer's sounds being looped while the soprano sax seems to be live over the top. At the five-minute mark there
is a recapitulation of the zither/dulcimer motif, again for 60 seconds before a return to the opening motif only with
Rainer mirroring Jan's sax melody line with his "harpsichord/dulcimer" and adding some nice MARK ISHAM-like synth
chords to envelope them. Nice tune--even if it is a bit imitative of the Windham Hill style of operation of the time.
(13.375/15)

5. "It's Name Is Secret Road" (1:43) Jan making bird noises with his clay and tin flutes. Is he now trying to be N. CARLOS
NAKAI? (4.25/5)

6. "Send Word" (7:12) solo sax opens this in a NAJEE/KENNY G-like sound before MIDI-keyboard chords are gently
bounced through to create a motif over which Eberhard spends the next 90 seconds soloing with his ethereal fretless
bass. In the third minute Jan returns with his soprano sax. Again the sound palette, pacing, and overall simplicity and
spaciousness of the music cries out "New Age." Rainer's piano at the end of the sixth minute is a nice breath of fresh
air while Jan and Nan]]>�
7. "Voy Cantado" (6:48) trying a South American/Latin vibe just doesn't work with Jan's style of Najee/Kenny G sax
playing. Even Rainer and Nan]]>�MANNHEIM STEAMROLLER Christmans fare. There are a few faux-dramatic tricks executed in the fourth minute that
seem to be trying to cry out "Jazz" but in the end it's just a front, turning more into a weave of Minimalist or Math Rock
lite than Jazz. (13.125/15)

8. "Mirror Stone I" (1:11) solo sax playing a plaintive, almost medi]]>�anachronistic music. (4.375/5)

9. "Mirror Stone II" (2:29) another New Age opening with sustained synth wash chords. 30 seconds in Jan injects his
sonorous sax. I must admit: He is very good when he gets spiritual. (4.5/5)

Total time 54:10

I know New Age music was a viable (and popular--both in terms of sales and artist's choices) channel for Jazz-
trained/raised artists in the 1980s--and Jan seems like a natural candidate (even, perhaps, progenitor) for the genre--
and I benefitted in my 30-year career as a massage therapist from the copious amounts of material appearing over
that span of time--but it does seem like a waste of these artists' talents.

B-/3.75 stars; a solid contribution to the world of New Age Music. I am glad for Jan's choice to go play/create more
melodic music than the atonal avant-garde stuff he was doing in the 70s.

POLY-MATH Something Deeply Hidden (Post Rock/Math rock, 2026)

Wed, 24 Jun 2026 04:14:16 EST

Review by alainPP — Poly-Math is an instrumental quartet aiming to be as bizarre as possible. They play math rock and retro-prog,
nodding to Spock's Beard, The Mars Volta, All Traps on Earth, the jazzy Canterbury scene, and the grand King
Crimson for a dark, eerie atmosphere.

"The Universe as an Engine" is a deluge of high-pitched, distorted, bouncy notes; a syncopated post-rock
atmosphere with hammering pads and an intense Crimson-esque vibe reminiscent of *Thrak*. There are spacey,
electronic, spiraling keyboards and compulsive math-rock maracas in the background. A frenetic prog-metal riff
leads to an explosive finale. "One/Two/Three/Four Body Problem" deals with the study of motion?fitting for this
sharp, dissonant track where expressive drums confront an unsettling, swelling guitar in a polyrhythmic finale. "No
Such Thing as Now" shifts the mood with a fluid, vibrant intro; a driving bass groove acts as a musical bellows,
launching into abrupt, syncopated notes with synthetic reverb. The frenetic finale fuses aggressive sounds to
maintain tension. "Euthyphro Dilemma" channels Radiohead-esque grunge, followed by a cinematic, gangster-
movie vibe. It evolves into a danceable jazzy-pop-rock style before drifting into a space-time-ambient realm that
invites reflection.

"Spectral Dis/Order" returns to a syncopated style, enhanced by powerful, earth-shaking tones; the riff leans
toward metal, while the synths echo Porcupine Tree's dark industrial experiments. There is Rage Against-style
shredding guitar and a bouncing bassline leading into an abrasive, twilight-hued, sinister finale. A barrage of noise
and sound precedes the spacey outro. "Chronostesia" follows with an electric Andalusian air?an infectious
electronic-jazz blend featuring reversed sound effects. The bass bounces along to the track's catchy melody,
evoking the spirit of Mahavishnu and Al Di Meola. "Terror Management Theory" moves from *Mars Attacks*-style
sonic tinkering into a sound blending Devo, Talking Heads, and dark wave?courtesy of vintage synths. The track
explodes into a frenetic, apocalyptic frenzy, like a 380-volt electric shock. Maracas join the Mellotron to evoke the
fiery jams of a jazz-metal, epileptic King Crimson.

A complex, dense, and polyrhythmic instrumental album that will send melody-seekers running, yet is teeming with
pure, quintessential prog DNA.(3.5)

THE PINEAPPLE THIEF Magnolia (Crossover Prog, 2014)

Wed, 24 Jun 2026 03:15:46 EST

Review by A Crimson Mellotron — 'Magnolia' is studio album number ten from The Pineapple Thief. As one of the most intelligent
alternative/progressive rock bands of the 21st century, PT always deliver incredibly well-composed
albums that are usually emotionally loaded and impress with a subtle, ornate sound. This album in
particular is one of the very melancholic works from the band, and it almost feels like a Bruce
Soord solo effort - it is intimate, sincere, and personal, but it definitely does not mark a
creative high point. The songs on 'Magnolia' have a strong alt-rock edge, and rely heavily on mood
and melody, which paints the entire record in excruciatingly mellow shades, which by itself echoes
some Porcupine Tree songs from the early 2000s.

All the elements of a strong Pineapple Thief collection are here, including the electronic
undertones, the elegant acoustic guitars, the sweeping orchestral refrains, and the crunchy guitars,
but many of the songs are not as cinematic or grandiose as we are used to hearing from this band.
Comparing this album to some of the more renowned releases of theirs, 'Magnolia' seems to lack the
experimental edge that stronger releases by the Pineapple Thief display. Still, it is a very fine
record with a warm sound that is more on the alternative side, meaning that it could be a nice
introduction to the band to someone who is just getting into them.

GENESIS A Trick of the Tail (Symphonic Prog, 1976)

Tue, 23 Jun 2026 17:16:12 EST

Review by Fercandio46 — You can't separate personal history from music because the former influences the latter, and what Genesis was
experiencing internally was worthy of a movie. With Peter Gabriel's departure, the band was left without a singer, as
well as their spiritual leader, so to speak. Tony Banks and Mike Rutherford, the other founding members, began
auditioning singers, while Phil Collins, a bohemian Phil who played jazz-rock with Brand X, preferred that they
continue as an instrumental band, in the style of his side project. But in the interviews, when he sang himself so the
candidates could see how things were going, Banks and Rutherford realized that they had their singer with them for
years... and it was none other than Phil himself.

Even during the troubled recording of The Lamb Lies Down on Broadway, during Gabriel's absences, each of them
had grown as a composer, writing large parts of the double album, especially Collins, who until then had not had so
much involvement. This explains how a phenomenon will occur for the first time in A Trick of the Tail and will later
be repeated in subsequent albums: you can guess who each song belongs to, forming a photo album where
everyone is present. This will result in an album that is very endearing to fans of the band, but uneven, since it
contains incredible compositional and interpretive gems alongside others of more humble quality, whose simplicity
makes them pale in comparison.

Dance on a Volcano belongs to the first group, the gems, with Hackett working his magic, Phil playing drums like
only he could and singing beautifully, Rutherford being that bassist who is often overlooked, yet his subtle work is
of paramount importance. The essence of Genesis is present...the magnificence, that melancholy, that power, that
contained anger that sometimes overflows and blood flows freely. Precision, drama, theatricality...all of Gabriel's
teachings carried out by his acolytes, and that gives way to Entangled, another gem, where Phil sings dreamily, and
Hackett takes us into another dimension. The composition may be simpler at times, but that also happened with
songs from Gabriel's solo career; living in an era where one is permeable to currents that change, flow, and mutate.
And towards the end...the miracle...Tony Banks with that Moog solo, and Phil singing old British folklore. The follow-
up couldn't have been more perfect, with "Squonk," one of my favorite tracks, so powerful it's overwhelming every
time you hear it. Genesis' potential was far from fading; on the contrary, neither better nor worse. Being on their
own, they discovered something more personal within themselves, and by developing it, they found something new
that yielded at least four great albums.

The drums explode on "Squonk," as does Phil's voice, whose lyrics are wonderfully poetic. It was especially suited to
live performance, which they did extensively on those tours in the late 70s. Mad Man Moon belongs to Banks, and
the delicacy of the piano is only rivaled by Phil's singing. As always, Banks' operatic knowledge shines through, and
his love even leads him to include a flamenco fragment, worthy of Manuel de Falla, followed by a superior piano
part, to which he had accustomed us at that time.
Robbery, Assault and Battery is a bit simpler, more circus-like, clashing with the rest, however it contains a high-
quality instrumental section in the middle, which makes the chorus forgivable. In Ripples Hackett makes his guitar
sound like a harpsichord, and Banks' piano sounds devastating, and although Phil's part is sentimental it is very
emotive...and amidst the baroque comes another supreme instrumental part where they do what they knew best,
create pictures, paintings, give color to the scores.

A Trick of the Tail may be a bit of fun, but listening to it reminds me how much I loved it... Phil's singing style, those
sounds Steve made with his guitar (and still makes!), I also remember the video, with that charming 70s style. What
can one say about Los Endos, right? Life in a compendium...everything happening before our eyes...the four of
them playing everything together, and in that raising our gaze towards the sky, where instead of the sun or the
moon there would be spotlights, blinding our sight apparently, when in reality it is to see better, to see differently.
I remember thinking of saying it was uneven...but it wasn't quite like that, and yet it's also unfair to compare it to
Selling England by the Pound or much less The Lamb Lies Down on Broadway, it should be compared to itself, not
to its past, nor to its future, which at the time of being made did not exist, and I only saw excellent music played
with the heart.

SAGA Homo Sapiens (Crossover Prog, 1976)

Tue, 23 Jun 2026 10:35:35 EST

Review by siLLy puPPy — One of the more adventurous acts to emerge from the small but feisty Portuguese prog scene that hit
the nation like a hurricane after the newfound artistic freedom had emerged after the 1974
dictatorial regime collapse with the Carnation Revolution, SAGA was a very short-lived ensemble
fronted by songwriter and composer Jos]]>��SAPIENS in 1976 on the Movieplay label and pretty much remained completely forgotten until the
Korean label M2U reissued it in 2002. This band was somewhat of a supergroup on the Portuguese scene
with a whole slew of prominent Portuguese music industry blokes from jazz, pop and production
uniting for a single no bars hold extravaganza.

The band featured multi-instrumentalist Jos]]>�played piano, synthesizers, keyboards as well as both 6 and 12 string guitars. The band featured
five additional musicians including Vasco Henriques on Moog and flute, saxophonist R]]>�guitarist and bassist Z]]>��Gir]]>�all the way to the 20th century and as the album cover art suggests focuses heavily on conflicts and
the horrors of war and fears of nuclear annihilation.

The album comes off as a musical and features not only band members on vocal duties which includes
group sing alongs and narrations in Portuguese but an additional four singers. Sinde Filipe provides
distinct spoken-word narration with vocals by an ensemble featuring Dulce Neves. The music is rather
unique sounding something like fellow countrymen Tantra performing a musical in the style of Jesus
Christ Superstar. Stylistically HOMO SAPIENS is a complex blend of symphonic prog, jazz fusion
(including some Canterbury jazz references) and Portuguese folk and pop with some extraordinary
complex prog works occurring as well as moments of pure cheesy Euro-pop of the 1970s that was en
vogue on those talent shows. It's an absolute bizarre labyrinthine approach through the varying
styles which ranks as one of the most experimental in all of the Portuguese prog scene.

The album features 10 tracks at only around 38 minutes which each one very distinct offering a bit
of a smorgasbord of ideas much in the vein of the Aphrodite's Child classic "666" which featured a
similar apocalyptic vision in a musical narrative form. Unfortunately for any non-Portuguese speaker
though, this one is completely in the native tongue tailored for the home team made even less
intelligible by the many spoken word narrative passages however even on the musical front, this is a
highly exciting and dynamic journey that conveys the turbulent ups and downs of humanity's journey
throughout the ages. Perhaps a bit over expansive in scope for a mere single album but nevertheless
handled with exquisite care and delivered with excellent performances and passionate vocalists
singing their hearts out.

This one comes off as quintessential 70s as this style of musical was all the rage and in that way
it sounds very dated but offers a unique testament to one of the least explored prog scenes in all
of 1970s Europe. Sadly the album was a commercial failure upon release despite critical acclaim and
has pretty much remained a distant footnote in the history of 70s prog which is a true shame because
although it's not the absolute pinnacle of masterpieces that emerged from the fertile golden years,
HOMO SAPIENS is a wild if not bizarre example of creativity in a musical form that wasn't explored
elsewhere as much. This will be one of those that will divide since language is the barrier from any
lyrical connection however the musical ingenuity alone is enough to win me over. A nice slice of
rare obscure prog here.

KLAUS SCHULZE Irrlicht (Progressive Electronic, 1972)

Tue, 23 Jun 2026 08:56:13 EST

Review by Sean Trane — Subtitles "Quadrophonische Symphonie Für Orchester Und E-Maschinen", Schulze's first solo outing is certainly an
ambitious one. Klaus plays all the instruments on this instrumental adventure (it was one back then, anyways), except
the "classical ones (strings a horns) . Surprisinly, despte Scjilze reputation as a "synth wizard", there aren't any of this
album, like there was none in TD's first four album or Kraftwerk's two "Cones" albums. And BTW, while we're at it, I
much prefer the 75 reissue sleeveb (on Brain, instead of Ohr records) with the Urs Amman Dali-esque artwork - because it's winking at the "coffee trilogy"
(see my Black Dance review), which was near his artistic top.

The opening Ebene sidelong track has a calm and reflective atmosphere, while the short Energy track on the flipside is
somewhat misleading and the closing Maria is worthy of TD's Zit's tracks like Plejades or another). Maybe not
groundbreaking by its 72 release date; but definitely avant-garde.

KLAUS SCHULZE Body Love - Vol. 2 (Progressive Electronic, 1977)

Tue, 23 Jun 2026 08:31:32 EST

Review by Sean Trane — If I understand well, this not a suite of the porno flick Body Love, but the unused musical ideas that Klaus had
submitted to the movie director. Does this mean that these are the rejects of the first BL? Well if you judge by the
sidelong Nowhere (and its stupid pun title), we're still in the "tangerine dream realm", which to my ears, can not go
wring during the 70's. Stardancer 2 doesn't feature any drummer, which might induce that it's an alternate take, while
the closing Moogetique is a bit of a nightmare at first., with its moody soundscapes.

Sooooo, no, BL2 is certainly not worse (or FTM, better) than BL, but then again, was owning one more Schulze album
necessary? Not IMHO

KLAUS SCHULZE Body Love (OST) (Progressive Electronic, 1977)

Tue, 23 Jun 2026 08:15:02 EST

Review by Sean Trane — Though I've never seen the porno flick, I heard it quite a few times, since laying my ears on it. Don't expect moans &
groans, though, but the usual Schulze sonics, if only slightly more exciting than Mirage or X. The opening Stardancer is
quite dynamic and could find a spot on a couple of Tangerine Dream albums of the era. Of course, the presence
Grosskopf's drums help tremendously. For the life of mine, I can't figure out the anagram of P.T.O., but we're in the
Tangerine Dream realm here.

I'm still curious how the porno director managed to fit the music to the images, though. I'll probably never find out,
though, since a couple of searches for the movie came up empty years ago. In the meantime, I prefer Body Love to
Mirage, but giving 4 stars to an OST is relatively rare.

ELDER Through Zero (Heavy Prog, 2026)

Tue, 23 Jun 2026 07:58:32 EST

Review by BrufordFreak — The Boston-based band's eighth studio album release since 2007.

1. "Sigil To Ruin" (10:33) ambient space synths open this one before infinity electric guitar notes emerge from the
depths to be joined by the complement of syncopated heavy rock walls of sound. This start leads to a cool
atmospheric break at the two-minute mark which is followed by a more humane motif with Nicholas DiSalvo's
augmented post-Tim Smith MIDLAKE-like vocals. This is really nice! I really like bassist Jack Donovan's sound and
playing just above Georg Edert's syncopated rock drumming, just below Nicholas' rhythm guitar work. The chorus
buildup is more like a return to the guitar-heavy opening. Cool synth and guitar effects in the sixth minute woven
beneath the vocals. The eighth minute has a nice diversion of jagged, mathematical Synth Pop chords before guitar
and vocals join in to ground it more in straight-line movement. Then the music gets djenty for the exposure of a nice
little rock guitar solo. Though all of the musicians feel skilled, no one seems to be trying to out-perform the others--
and there are very few overtly "solo" exhibitions. An impressive and likable opener if a bit regimented. (18.125/20)

2. "Capture/Release" (8:47) a gentle, prolonged cinematic synthesizer "space" introduction takes us to the addition of
staccato notes and swirling spirals of waves from keyboards before the band launches into a nice two chord motif for
the second minute. Enter lead vocalist Nicholas DeSalvo with a voice(s) and harmonized vocal sound that reminds me
quite a bit of both John Young's LIFESIGNS and Belgian-based international supergroup FISH ON FRIDAY. The music
continues to flow like a Post Rock band using a 1980s and 1990s techno/New Wave sound palette. The sound palette
thickens and gets heavier in the second half--not unlike some of the walls of sound Jared Leach created on his
masterful 2016 GHOST MEDICINE release, Discontinuance. Despite taking us on a fairly straightforward ride, the music
is always easy to enjoy, the scenery evoked pleasant. (18.125/20)

3. "Through Zero" (9:06) cool heavily-reverbed electric guitar opening reminds me of both THE CURE and KINGSTON
WALL but it quickly turns heavier, sounding more like some of the grungy metal of the 1990s (which is not quite as
much to my liking as the opening). But this turns djenty as a lead guitarist solos over it until 1:25 when a two-guitar
chord arpeggiation opens things up for Nicholas to enter with a Kevin Moore (Chroma Key)-like lead vocal to enter.
The driving effect of the Georg's drumming is quite solid, even as the song takes a couple of detours, left and right,
over the next minute or two. The motif that is held in the fifth minute is quite nice: something that really piques my
interest. This is developed with searing infinity electric guitar notes and complex harmonized vocals until the band
returns to the uber-heavy wall of sound for the seventh minute. Nice work in the complex weave of the eighth minute:
bass, drums, and two guitars holding fast to their places in the weave. (17.75/20)

4. "Strata" (10:48) opening with alternating bass notes and keyboard arpeggio moving through a few chords together--
again reminding me of both THE CURE but also the COCTEAU TWINS--before launching into a very cool almost
KITCHENS OF DISTINCTION/early THE FIXX/ALAN PARSONS PROJECT motif with THE BUGGLES-like flat-toned robot-like
harmony vocals on top. The instrumental passages between the vocal verses return to the CURE/COCTEAU motif of
the opening section--which is really cool--and, eventually, include ICEHOUSE-like vocals on top, existing as the chorus.
At the end of the fourth minute a searing JARED LEACH-like weave of twin lead guitars joins in, giving the music a much
more grungy ALICE IN CHAINS/PEARL JAM-like feel and power--a wall of sound section that continues on well into the
eighth minute. Around 7:15 the bass and drums let up on the gas a bit but the thick walls of sound continue and
somebody's lead guitar solo intensifies until 8:10 when the whole soundscape switches dimensions, now chugging
along to make more space for the return of Nicholas' vocals to re-enter around the 9:00 mark. Definitely my favorite
weaves on the album so far. (18.25/20)

5. "Sight Unseen" (8:50) opening with a much longer and more spacious, even proggy, buildup and transitory weave
than we've seen/heard on this album before, it becomes still fairly thick but highly melodic and almost
electronic/Kosmische, especially in the second motif (which starts around the 3:20 mark) with a lead synth melody
pattern dominating the four-or-five-instrument Math Rock-like weave. Another solid song even if it is only
instrumental and only three prolonged motifs (with basically one speed coming from drummer Gerog Edert) drawn
out over the nine minutes. The third motif (which slowly establishes itself in the seventh minute) is like a heavy, grungy
Ozric Tentacles, but this very suddenly cuts out, allowing a space-atmospheric keyboard patch to fill the sonosphere
for the final minute. (17.625/20)

6. "Blighted Age" (5:48) opening with picked acoustic guitars within which Nicolas joins in with a COLIN BLUNSTONE-
like vocal sound and style. The music develops just like something from Kevin Moore's CHROMA KEY's albums from
the turn of the century. This would actually have been one of the best songs from either Dead Air for Radios or You Go
Now. There's just this haunting brainworm quality to the sound palette and repetitive chord progression used.
Awesome song! (9.333/10)

Total time: 53:52

They're still heavy but they might be a little more proggy, a little more prone to atmospheric and melodic passages
than before.

A-/4.5 stars; an excellent and very solid and consistent heavy prog that displays nicely disciplined musicianship as well
as exquisitely-forged compositions.

KLAUS SCHULZE X (Progressive Electronic, 1978)

Tue, 23 Jun 2026 07:56:07 EST

Review by Sean Trane — Klaus' tenth album (if you count the two Body Love OST - a porno flick I've never seen), but heard a few times ;-)))),
Klaus returns to a double album format (the first time since Cyborg , if memory serves), but he's not getting cute (the
the X letter was inducing you in error, because it's the roman number 10]]>�latest work. subtitled "Sechs Musikalische Biographien" didn't mean "sex music films".

Musically, X is nothing new underKlaus' sun and is anything but essential, if you own a few albums before it. I didn't
keep my double vinyl long; because Klaus was going in circles by then and repeating himself. Sure, the Kosmik Joker
buddy lays out a few minutes of great drumming to spice things up , but not enough so. The invited string section on
the sidelong Bayern suite is not spicing anything, however nice it might be, and can lead to sleep if going through
digestion. the same can be said of the first 15-mins of Kleist, though things go a little nightmarish in the second half,
but nothing to get you out of your torpor.

The last worthy Schulze album , before going totally ambient-ish & "new age", so I'll stop sharing my thoughts at X.
But( if you (take a look at the site's collective ratings of KS album, the difference after this one speaks volume about
Schulze's next adventures.

KLAUS SCHULZE Mirage (Progressive Electronic, 1977)

Tue, 23 Jun 2026 07:28:38 EST

Review by Sean Trane — After the Amazing Time Wind and the successful Moon Dawn, was KS able to keep the inspiration and produce
another masterpiece? If anything, the sleeve announced a bit of changed era, despite keeping sidelong suite (again
with the movements given names, like for Moon Dawn). Working alone this time (no need of an invited drummer), it
also meant no outside ideas, and the opening Velvet Voyage is more of Floating (on Moon Down) than a Mindphasing,
which means that it moves simply too slow, despite the chosen sonics being gorgeous. In the end, for whatever ideas
developed in this track, it could've been shorter by 10 minutes, thus still making it 18 minutes.

On the flipside, the even-longer Crystal Lake starts more dynamically and morphs quicker, developing delicate
climates, but never exploding like Mindphasing on MD, though we approach Froese & Co in terms oof sonics. TBH, if
on Moon Dawn, you could hear the different movements ending & starting, it's much more difficult to tell that in
Mirage. I'll be rounding up Mirage to the upper star, but really, it's a bit of a step down from Moon Dawn.

ASCETA The Fool Leading The Blind (RIO/Avant-Prog, 2026)

Tue, 23 Jun 2026 06:57:51 EST

Review by BrufordFreak — Chilean composer and bandleader Rodrigo Maccioni's third album release since 2021, all reporting pretty much the
same cast of Avant-Garde musicians as this album. (Pianist Jorge Bugue]]>�are new additions since 2023's Erebus, La Suite de las Sombras.) After reading the enthusiastic five star review that my
esteemed colleague Scott "Evolver" posted on ProgArchives this morning I had to go back and familiarize myself with
the band's excellent two previous albums (of which, sadly, I have yet to post reviews).

1. "The Fool Leading the Blind" (21:34) opening with an odd array of creepy sounds before bassoon enters as the first
truly recognizable instrument, setting a slightly lighter mood with its melody line. They are soon joined by various
stringed, bowed, percussive, and keyboard instruments, creating a rather unusually-neutral tapestry of sound (I'm
used to Avant/RIO songs ladling out a soup of dissonant or atonal gloom-and-doom moods) eventually sounding more
like an expanded, orchestra perspective of KING CRIMSON's "Discipline" or even "Frame by Frame" music. The
intricate mathematical weave of broad spectrum orchestral instruments continues with what seems like no
instrument taking more than a few bars in the solo spotlight yet each and every one being given their turns. The
overall feel and melody lines remain surprisingly (unexpectedly) upbeat and (for me) enjoyable, even into the new
motif (which begins in the eighth minute). Another thematic shift in the ninth minute continues to leave me with the
King Crimson Math Rock feeling despite the unraveling and simplification of the overall weave though I can now hear
elements that remind me strongly of CHEER ACCIDENT. This is so lovely! I really enjoy a more upbeat, hope-filled and
even light form of Avant-Garde music. At the end of the 12th minute Rodrigo strips down the weave to three or four
basic Rock instruments (bass, drums, guitar) while allowing all of the other instruments to contribute riffs and accents
to the overall motif--often sounding like circus fare despite the Crimsonian base. Those of you familiar with both my
adoration of the Discipline album and my pronounced bias and preference for melodic music (as opposed to
dissonant or atonal) while understand why I'm enjoying this song so much. I feel that over the years I've been pretty
accepting and open to the "less pretty" musics of Avant-Garde/RIO (as well as Metal) artists--willing to be educated--
but I have to admit to having found through this process that my preferences are very pronounced and ingrained by
my pop and proggy youth. My attraction to and growing familiarity and understanding of Jazz-Rock Fusion and,
through it, Jazz music has helped me increase my comfort and tolerance of dissonance and atonality yet I still find
myself "enjoying" melodic, upbeat music more. What we have here is a wonderful composition of more melodic and
more buoyant and even cheerful music--much like the feel that Rational Diet/Five-Storey Ensemble's Olga Podgaiskaya
produces with her own music. Beautiful music, Rodrigo! Thank you so much! The only thing lacking from this
wonderful composition are earworm melodies that my brain will never let go of. (38.5/40)

2. "Temple Of Mirrors" (5:44) Now this song contains some "earworm" melodies that have no trouble working their
way into my brain. The music is quite similar to that of the previous song yet never evoking King Crimson, Cheer-
Accident, Yugen, Factor Burzaco, or Five-Storey Ensemble along the way. This feels like "new" music for me! (9.333/10)

3. "When They Arrive" (7:26) yes, it's slow and plodding like UZed and Pr]]>�band's previous two albums--but there is a feel that is different here: I'd call it a Latin element, the hopeful, optimistic
South American spirit; as if the music here is trying to push through like grass and weeds poking through the cracks of
an abandoned parking lot. The drumming alone is much more laissez-faire; expressing a kind of "we'll take it as it
comes" attitude. And, while the weave of melody-forming instruments is somber, it is not hopeless. I even detect a
little of Olga Podgaiskaya's indomitable spirit here. As a matter of fact, this has been a song that I keep liking more and
more every time I hear it. I like the use of the different sounds coming from the electric piano and synthesizer ("saw"
sounds). (13.75/15)

4. "Everything Stopped" (7:53) a more bombastic and cinematically-dramatic start--like music for a silent film or
documentary soundtrack--the musicians' performances are eventually sublimated into something more mobile:
sounding like a couple going on a morning walk through the local park or woods. With the arrival of the third minute
there is a sudden suggestion of danger, fear, and/or cautious worry: as if the walkers have suddenly found themselves
lost in a darker and unfamiliar part of the woods. The hackles on one's neck remain on alert, but the couple presses
on, finding more resolve and hopefulness the further they go on, eventually finding comfort in the sixth minute as
signs of a thinning tree canopy, a lightening of the sky, even, perhaps, a familiar landmark or two begin to make
themselves known. Interesting! Quite an evocative journey! (13.5/15)

5. "Memento Mori (Remember That You Will Die)" (10:19) thought there is gravitas in this music, there is also a feeling
of celebration and enthusiastic encouragement directed toward the listener--as if the composer (and band) is trying to
remind people that they can LIVE, now, that they should live now, even with the knowledge that their death is
imminent, but that it is in the future, not happening now, so take advantage of the now. The circular lines occurring
within the weave seem to me to also be adding the reminder that it's all circular, cyclical: that life and all of the
patterns in life are part of a cycle of repetition. Again, it's not the melodies or contrasting melody lines (of which there
are few) but the overall spirit being expressed--or rather, the spirit that I'm feeling--that counts. I feel that there is a
very positive, life-affirming message emanating from the bones of this music, from the fact of joint cooperation
resulting in the music of this song. (18/20)

Total Time 52:56

I have to agree with my PA colleague Scott "Evolver" that this album present Prog World with some of the freshest,
most exciting Avant-Garde/RIO music I've heard in a while: there's just something different about it; not as dark, not as
insistent and unforgiving as the music of Univers Zero and Pr]]>�often missing from other Avant-Garde/RIO albums (even Asceta's own two previous albums: while both Erebus, La
Suite de las Sombras and their self-titled debut from 2022 are excellent, they don't feel as ground-breaking as this one
does: they feel like continuations of that which UZed and Pr]]>�accomplished here is exciting for how how positive and engaging they've made dissonance and atonality sound.

A/five stars; a refreshing use of Avant-garde structures and palettes to create some music that is enjoyable on several
levels. A masterpiece of modern progressive rock music.

YES Aurora (Symphonic Prog, 2026)

Tue, 23 Jun 2026 01:23:37 EST

Review by ProgfanJP — As a lifelong Yes fan, every new album from this band comes with a certain weight of expectation, and Aurora manages to
carry that weight with real dignity. This is their 24th studio album, and the fact that they are still here, still curious, still
reaching for something new, is something I find genuinely moving.

What strikes me most about Aurora is how organic the whole thing feels. Rather than arriving with a fixed concept, the
album grew from a collection of musical fragments that gradually found each other and took shape. You can feel that in
the music itself, there is a looseness and a sense of discovery that runs through the whole record, even when the
arrangements are at their most detailed and considered. Steve Howe has spoken about the process being full of joy, and
that comes across clearly.

The lineup of Howe, Geoff Downes, Jon Davison, Billy Sherwood and Jay Schellen feels settled and confident here. Each
track has its own personality, some of them clearly drawing on the classic Yes sound, others pushing into slightly different
territory, but the album holds together as a coherent whole. Howe's presence as both guitarist and producer gives
everything a strong central thread, and Davison continues to be a vocalist who honours the legacy without simply
imitating it.

Aurora is not a reinvention, nor does it try to be. It is a band in their element, still exploring, still finding new things to say.
For a Yes fan, that is more than enough.

JUAN BELDA AND THE BIT BAND Memories of a Loser (Jazz Rock/Fusion, 2026)

Tue, 23 Jun 2026 01:18:53 EST

Review by ProgfanJP — Spain keeps delivering, and Juan Belda & the Bit Band have just released one of the most fascinating albums to come out
of that scene in recent memory. Memories of a Loser is the sixth album from this Madrid-based composer and multi-
instrumentalist active since the 1970s, and it feels like a genuine statement, a record where everything clicks into place
with real confidence.

The sound here is probably the most chamber and psychedelic jazz-rock oriented of his career. Analog synthesizers with
a distinctly German electronic flavour sit alongside saxophone, electric piano, organ and guitars, and the result is
something dense, slightly dark and completely addictive. The interplay between structured compositions and more open,
improvisational passages feels completely natural, and that balance is one of the things that makes this album so
compelling to return to.

The collaborators add enormously to the personality of the record. Pelayo Arrizabalaga on saxophone is a constant
presence and one of the highlights of the whole album. Markus Breuss on trumpet brings a cool and slightly unsettling
quality, Enrico Barbaro and Juanjo Orti form a rock-solid rhythm section, and Jorge Pardo's appearance is exactly the kind
of special moment you hope for. The lovely vocal contribution from Madoka Belda is also worth singling out. This truly
feels like a collective, not just a backing band.

The reinterpretations of pieces by The Beatles, David Gilmour and Edison Denisov are so fully absorbed into the language
of the band that they barely register as covers, which says a lot about the strength of this artistic identity. Memories of a
Loser is the kind of album that reveals new things with every listen, and that's always the best possible sign.

KLAUS SCHULZE Moondawn (Progressive Electronic, 1976)

Mon, 22 Jun 2026 16:25:34 EST

Review by Sean Trane — After peaking with the flawless Time Wind, could Klaus evolve even more? Well he certainly tried to
outdo himself, playing "The Big Moog" and inviting drummer Cosmic Joker buddy Harald Grosskopf (not sure why since
Klaus is a drummer himself). Continuing with sequencers, Klaus' moods become multiple and varied and
dare I say, slightly more commercial (same as Tangerine's music was too around that time), though
we're a far cry from Jean Michel Jarre's delicious Oxyg]]>�
The rtwo sidelong tracks are right up the Time Wind alley, though slightly more eventful. The 25-
mins + Floating even abuses a bit of the sequencers, IMHO, though it's nothing exploitative and the
track is enhanced halfway though with a loud synth solo, that brings you back on track, instead of
losing you. On the flipside, Mindphasing is a different ball-game, but still with the Schulze rules
applicable. Starting on gentle wave washes, seguing slowly into (gentle) thunder sounds before
evolving in a crescendo where keyboards and drums are going wild

If Mindphasing is probably Schulze's best moment, it's a bit too bad that it's paired with a
slightly subpar Floating., because if both sides had been on the same mind phase, than Moon Dawn
might've even been better than Time Wind.

HIROMI UEHARA Hiromi and Edmar Castaneda: Live in Montreal (Jazz Rock/Fusion, 2017)

Mon, 22 Jun 2026 16:09:14 EST

Review by Fercandio46 — I can imagine Hiromi marveling at all those 70s classics that influenced her. The good thing is that the 80s also
influenced her, and she has room for everything in her musical world. That includes fusions with sounds from other
parts of the world, which brings us to her collaboration with Edmar Castaneda, a Colombian harpist. And while the
Paraguayan harp is world-renowned, he is a great performer who has given it his own energetic imprint, with colors
that vary like the rainbow?sometimes jazzy, sometimes folky, sometimes ethereal and spacey, and other times
earthy. In "A Harp In New York," he acts as a guitar, accompanying Hiromi's rapid improvisations, and as always, she
brings the joy and happiness of playing, which is evident and captured on tape. The harp's echo is unique; it lingers
in the air, its resonance filling the space like no other instrument.

For Jaco begins as if with a bass...which he does with the harp, achieving a most original tribute, reaching those very
low tones. And together they build endless routes...that sometimes cross, touch, exchange paths, go through
tunnels, bridges over rivers, Hiromi does solos with the support of Edmar, who then makes the harp sound like a
double bass, and later a guitar until Hiromi joins again.

Moonlight Sunshine is that other dimension, the classical dimension they handle so well... and which is also just a
step away from indigenous folklore, as Keith Jarrett also demonstrated with his trio. Here the harp sounds like a
charango or ukulele, and those solo notes slow down time and even make it rewind, taking each listener to a place
as unique as it is personal. And Hiromi seems to accompany at times as if with a Chopin Mazurka.

John Williams' bee bop version of Cantina Bar, composed for Star Wars, showcases the duo's playful side, while also
making room for virtuosity and a welcome Latin digression that makes it unique, with its cascades of notes that let
the sun shine through.

The Elements Suite logically consists of four parts, each dedicated to one of the four elements. "Air" features very
emotive duets, and it's a pleasure to recognize notes from one of Hiromi's mentors, Chick Corea, both in the
structural complexities and in the more emotional ones, as the balance lies precisely in the interplay between the
two. Edmar Castaneda is equally impressive in his interpretation, carrying the harmonies on his own as well as
accompanying Hiromi's parts, who displays her entire repertoire.

"Earth" gives the impression of digging deep, extracting all the possibilities of the harp/piano duet, whether
through opposition or superimposition. If there's one thing that distinguishes Hiromi from other pianists, beyond
her technical prowess, it's her ability to move the listener, to connect with them, as well as her intelligence in
choosing her repertoire.

While "Earth" was violent and even aggressive, not wanting to go unnoticed, "Water" is the complete opposite, and
what better way to illustrate the calm and undisturbed depths of the sea than with the notes of the harp? There's
also room for Hiromi to improvise.

"Fire" is the most experimental, the most atonal, throwing notes into the air...like cries that will later take sonic form
in rapid sequences of notes from both harp and piano. Almost as if they were taking turns in the style of John
McLaughlin's Mahavishnu Orchestra...and yet when Hiromi is left alone she reminds me of Friedrich Gulda when he
played jazz, with that touch that only those who also know classical music can have.

A delightful surprise with Astor Piazzolla's Libertango for the finale, and an arrangement that fits it perfectly. The
audience exclaims upon recognizing it; first Edmar plays it, accompanied by Hiromi, and then Hiromi takes over,
creating variations on it (something Astor, being a jazz lover, would have loved). And of course, the final section
features the two of them together, violent, dramatic, and emotional, virtuosic, and even bloody, going off-key just
as the maestro liked.

NEAL MORSE Jesus Christ The Exorcist (Symphonic Prog, 2019)

Mon, 22 Jun 2026 16:00:02 EST

Review by arcane-beautiful — When I heard the announcement of this project, I actually thought it was a joke, or the title of a really good but
bad B movie. Sadly my dream of seeing a cross between Jesus Christ Superstar & The Exorcist has never came
to pass, but this is a pretty monumental achievement for Morse. Pretty much a fully fledged musical, without
the acting, it showcases an incredibly wide range of guest musicians, in particular all 3 vocalists of Spock's
Beard, including Morse himself. The track that stands out is Love Will Call My Name, which I believe is the only
song to have every lead vocalist Spock's Beard has had on it. It also has one of the many incredible catchy
themes that comes back throughout that will get stuck in your head. Overall the concept is handled very well
too, with the main focus being on Jesus's ability to exercise demons from people. While it is a story that has
been told to death, it is overall handled well with alot of passion behind it. It's incredibly infectious and overall I
think it's one of his many masterpieces.

KLAUS SCHULZE Blackdance (Progressive Electronic, 1974)

Mon, 22 Jun 2026 15:33:02 EST

Review by Sean Trane — I just learned that Black Dance can be considered as the first album of the "coffee" trilogy" and
given the bark-brown dominated artworks of Picture Music (North Am release) and Time Wind, this
could be the reason. Those three sleeves are designed by Urs Amann, strongly influenced by Salvador
Dali and these paintings fit quite well Klaus' music of those three albums.

There are two other reasons why this album is special, one being Klaus' first "synth" album, but
also the presence of a male vocal on the album-closing Voices Of Syn. We're talking of low-ranged
tenor Ernst Walter Siemon, which is quite a change, but to be honest, while impressive performance
it is, the track is not enthralling, somewhat overstaying its welcome, because ideas are not
progressing fast enough. Quite frankly, the same can be said of the whole album, but it's still
quite a good album, though I've ended popping out the disc before it's over.

KLAUS SCHULZE Cyborg (Progressive Electronic, 1973)

Mon, 22 Jun 2026 14:59:24 EST

Review by Sean Trane — Ambitious second album that goes double, with four 20-mins+ tracks, and one for each side. With
Irrlicht, Schulze had proven that he could carry out a project all by himself , after having started
some of the most groundbreaking project with Froese (Tangerine Dream) and Ash Ra Tempel, both of
which were the embryos of the future Berlin School of electronic music (also called Kosmische
Muziek).

As we will see in his future albums, Klaus was cramming a lot of music o,to one disc side and the
whole affair lasts 105+ mins (the CD reissue from 2006 packs in another 55' as a bonus track - live
in Brussels in 77), with admittedly only a Farsifa organ, a VCS3 and percussions and the help of an
orchestra

Back then, Klaus was certainly at the forefront of the groundbreaking of the electronic continent,
with only Froese's Tangerine Dream as sole competition, but today, his music is a bit conventional
and dare I say one-dimensional. Where TD were working at three to fill in their albums, Schulze was
alone and often stretching some of his musical ideas a bit too long, but thankfully, he never really
overstayed his welcome. He will do much better in a few years, though.