Reviews (all) - Progarchives.com

LARRY CORYELL Larry Coryell and Alphonse Mouzon: Back Together Again (Jazz Rock/Fusion, 1977)

Thu, 7 May 2026 16:41:28 EST

Review by BrufordFreak — And John Lee and Philip Catherine as well! The result is some of Larry's finest "classic rock" feeling compositions and
performances of his career. The album was released by Atlantic Records in June of 1977.

1. "Beneath the Earth" (3:03) excellent Power Fusion from Alphonse straight out of the blocks! What an opening! And
then John Lee and Philip Catherine's acoustic guitar support: Awesome! I can't remember hearing this Rock 'n' Roll
electric guitar tone used by Larry before. (9.375/10)

2. "The Phonse" (3:48) Southern-fried funk of the highest order! And, surprise, surprise! It's a John Lee composition!
Larry just cooks it--on multiple tracks, I believe. (9.25/10)

3. "Transvested Express" (3:51) this very complicated Philip Catherine composition sounds as if Al Di Meola were
playing (and composing) with The Dixie Dregs. (Thank you, Mr. Catherine!) It's very sophisticated and unpredictable
Power Fusion with an acoustic orientation; this song cooks and impresses with every turn--and not just the two
guitarists but John and Alphonse as well! Probably my favorite song on the album. (9.5/10)

4. "Crystallization" (3:19) a kind of Steely-Dan-ed two-chord vamp over/within which Larry burns it up using multiple
tracks as if he was with Jan Akkerman in a Thin Lizzy world. (9.125/10)

5. "Rock 'n' Roll Lovers" (4:04) another two-chord blues-rock construct (for the verses) over which Larry just cooks and
delivers on all counts. Al, too! Rockers will absolutely love this song (as promised by the title). It could use a little more
variety and/or development. (8.875/10)

6. "Get On Up (We're Gonna Boogie)" (2:50) Did I mention Thin Lizzy? Surprise! Maybe it's the JB's! One of Al's songs
that inspires Larry to soar. (8.875/10)

7. "Reconciliation" (2:34) one of Larry's songs on which we get to hear John Lee trying out his slap bass techniques
while Al screams out the song title from the background while Larry and Philip duke it out with their rock guitars.
Another song that would have benefitted from a little more development. (8.875/10)

8. "Back Together Again" (3:05) An Alphonse song with singing of the title throughout while John's deep funky bass
reverberates at the bottom and Larry near-constantly flies around on his rock-effected guitar over the top. The sound,
styles, and constructs are sounding too much the same, not varied enough as they were with the opening few tracks.
(8.75/10)

9. "Mr. C" (3:28) A Coryell composition that actually shows some of the sophistication and complexity of the album's
opening songs. Though Philip Catherine is only listed as the rhythm guitarist for this one, it's hard to believe that all of
the layers of lead legatos and ostinati woven together are just Larry (but entirely possible). The team is dialed in! (9/10)

10. "High Love" (5:51) acoustic guitars rule on this one though John and Al are playing as usual (though, a little
mechanically despite the numerous tempo and thematic shifts occurring throughout the song). The first soloist is
Philip and, once again, he proves why he should be included in the conversation of the "greats." So smooth! But then
Larry takes his turn and simply blows me away (and Phillip out of the water). Then Al gets his solo time in the fourth
and fifth minutes--wowing us with subtleties and speed more than power or syncopation. BUT, it's really the two
guitarists who steal the show. (9.125/10)

Total Time 35:53

What we have here is a collection of short but impactful rock tunes that often bridge styles and genres but always
inspiring Larry to very high levels of energy and displays of amazing skill on an instrument that we don't get to hear
him let loose on very often: the Rock 'n' Roll electric guitar. Though John Lee and Alphonse Mouzon represent
themselves very well, they do not feel quite as free or inspired as Larry and Philip (especially Larry). Knowing as I do
what a rough period this was for Larry, I am very pleased and proud of his ability to focus and hone it in for the
recording sessions that led to this album.

A-/five stars; a minor masterpiece of virtuosic guitar playing--electric and acoustic--over some truly powerful Rock-
infused Jazz-Rock Fusion. If you like to impressed by guitar skills, I highly recommend you give this album a listen. An
over-looked gem!

LARRY CORYELL Larry Coryell, John Scofield and Joe Beck: Tributaries (Jazz Rock/Fusion, 1979)

Thu, 7 May 2026 15:23:45 EST

Review by BrufordFreak — Though "The Guitar Trio" was made famous with the lineup that included Al Di Meola, Paco De Lucia and John
McLaughlin, Larry was actually in the Trio's original touring lineup. Obviously, Larry was really into the trio format.
Though Larry had been doing guitar duet performances, songs, and albums for years (with the likes of John
McLaughlin, Ren]]>�has been attributed to British promoter Barry Marshall. It began in 1979 with Larry serving among the Trio's first
membership (as evidenced by his appearance in the YouTube video footage from 1979 of Larry performing on stage
with John and Paco in their rendition of The Mahavishnu Orchestra's "Meeting of Spirits") but he was soon asked to
leave (and famously replaced by Di Meola) due to issues with his (at the time) severe drug addiction getting in the way
with both his night-to-night skill level during performances as well as his reliability to the tour's schedule.

With Tributaries we get a look at Larry's more personal, more Americana expression of the Trio format with friends
John Scofield and Joe Beck. The music here is actually quite sublime--especially for those of us who like a little less fire
and a little more beauty and emotion in their guitar music--like fans of artists like AMERICA, ANTHONY PHILLIPS, JOHN
PRINE, LEO KOTTKE, BERT JANSCH and JOHN RENBOURNE, PHILL KEAGGY, JOHN FAHEY, and, of course, DJANGO
REINHARDT.

Recommended--especially for guitar lovers.

SPIRIT The Complete Potatoland (Proto-Prog, 2019)

Thu, 7 May 2026 11:41:54 EST

Review by Fercandio46 — A concept album revolving around a tuber couldn't possibly have any other fate than to be buried for years... and so
it happened. The Adventures of Kaptain Kopter & Commander Cassidy in Potato Land was originally recorded by
Randy California and Ed Cassidy during Spirit's hiatus in 1972 and 1973, but when it was about to be released in
1973, Epic Records cancelled it. A version with re-recordings and overdubs was finally released in 1981, but it
definitely didn't do justice to the original, because the themes left out add another layer to the overall work, nor did
another version in 2006.

To begin with, the recording style is strange; the vocals are in the background, and it's a psychedelic space rock,
with folk passages reminiscent of the Byrds. When they got more acid-tinged, they reminded me of what the
Flaming Lips would do years later on some of their albums. 1984 doesn't resemble Bowie's version...interrupted
constantly by dialogues that advance the story...and somehow it works for me. There's something postmodern
about it...as if we were witnessing it from behind frosted glass...not seeing the true essence of things, but rather
what we imagine to be real.

From classic blues we move to a more cosmic one in Turn To The Right with reminiscences of the Doors, it is a link
between Feedback from 1972 and Spirit of '76, it is a more group effort but with this edition blended in the style of
Frank Zappa, which while it contributes to the conceptual story, it does not contribute to the follow-through of the
music. The acoustic version of "Nature's Way" is a highlight, as is the fast-paced, Who-esque "Salvation: Matter Of
Time Suite," which was previously unreleased.
It's with "Oil Slick-Million Years: Suite" that another surprise awaits us, a sound that is very modern and chaotic,
more akin to the psychedelia of the 90s than that of the 60s or 70s.

With "It's Time Now" the original work closes, and Randy somehow pulls a rabbit out of a hat to find feeling and
confirm that something different could be done on a parallel path to the band Spirit, despite continuing under that
name. Fifty percent was guaranteed with him and Ed Cassidy on drums and percussion.

The 1981 version features horns, backing vocals, and at times even a touch of disco and funk, as heard in
"Potatoland Theme." It also includes some very accomplished, almost electronic tracks like "Potatoland Prelude"
and jazzy numbers like "Donut House." In short, it's a nearly completely different album. The bonus tracks add a lot,
such as "Salvation" and a totally different, much rockier version of "We've Got A Lot To Learn."

The live recording from KPFK FM Radio in Los Angeles on September 13, 1972, is pure Randy Hendrixian, a style he
inherited from his time playing with Hendrix. While the sound quality isn't perfect, it doesn't detract from the
enjoyment and the ability to piece together the puzzle of that period. The same applies to the September 6 show
and the demos and studio recordings, among which are several gems that, once unburdened by the passage of
time, shine with justifiable brilliance.

SUFJAN STEVENS Enjoy Your Rabbit (Crossover Prog, 2001)

Thu, 7 May 2026 10:43:24 EST

Review by kenethlevine — Based on the Chinese zodiac with a few liberties taken, including in the lagomorphic vein per the title, "Enjoy Your
Rabbit" is about as far from SUFJAN STEVENS' debut "A Sun Came" as any second album in history, thereby skirting
the sophomore jinx narrative. By this stage he is still relatively unknown anyway, and still charting his own course
seemingly independent of even an internal compass, which is what makes him so fascinating from day 1. Here is a
glitch project, which is a genre that began in the mid 1990s and would probably remain unknown to me were it not
for Sufjan. It appears to simulate the random mutations in the world of viruses caused by errors in their own
apparatuses, only in electronic form. With HIV for instance, that was critical to know since these
glitches resulted in resistance to medications over time. That's where the parallel breaks down for me, well, apart
from any sense of musicality as I have come to appreciate it, so my first question is, why?

Each track of this essentially all instrumental project is supposed to somehow convey the spirit animal for which it
is named in musical (?) form but I only hear snippets, like the kookiness of "Monkey", albeit one of the most bleepy
and blurpy numbers here, and the movements of "Snake", but, while images appear in my pre-verbal musical
mind, they are rarely of anything as concrete as a critter. As the album proceeds, it luckily folds more conventional
electronica and mesmerizing keys into its glitch, no doubt due to an error of some kind, and the best examples of
these are "Rat", which spends most of its relatively short life in a form of postural hypotension that reminds me of
a less playful TALISMA, a contemporaneous group from Montreal; "Ox", with its krautrock pretensions; "Rooster",
which I guess sort of struts and croons; the more maximalist "Dragon"; and the sloppily lovable "Dog". In the best
sequences I am reminded of some of EVELYN GLENNIE's marvelous percussion work, but it could barely aspire to
be as inspired.

The title cut has a brief riff with a TULL-ish vibe but is otherwise nothing but hammering and drilling. I can only
think of the saber toothed rabbit which probably hasn't been part of any zodiac for millions of years, or the
dreaded wererabbit. Best avoided. And so for the finale we get to the point of the whole exercise, "Year of Our
Lord". Chinese zodiac be damned. I'd wager that the cycle is apt to repeat much more often under this paradigm.
Regardless, it's a float without the soda.

So the question after 2 vastly opposing releases is, which way do we go next? I'm hoping this is just a glitch in his
discography but, to be clear, it's decent for what it is, but it's not the way I'd serve hossenfeffer

PLINI An Unnameable Desire (Jazz Rock/Fusion, 2026)

Thu, 7 May 2026 10:41:15 EST

Review by Tobias_Review — After a 6 year gap between the last full album, Plini has given us a new experience. This album expands on Plini's
sound to the point where I wouldn't even class this as Jazz rock/fusion anymore (as listed here on progarchives).
This album sounds a lot more like Jakub Zytecki's music (who is also featured on this album) and has a heavier tone
than the previous releases; it is more along the lines of prog metal.

I believe this to be a step in the right direction as there is a lot more creativity here and experimental songs
compared to the previous albums. From the perspective of a Jazz Fusion enthusiast, this album does fail to deliver
quality soloing and instrumental interplay. However that is not what this album sets out to do. It manages to tell a
darker story which we have not seen before from Plini.

The guitar playing is great as expected from a top class guitarist like Plini. The drumming is the same as on previous
records, managing to add energy when needed but also being great in quieter and ambient sections. The bass is
great for the mix although never has any particular standout moments or interesting sections which is slightly
disappointing, although that is just the state of metal music in 2026.

Standout tracks for me include: An Unnameable Desire, Ciel, Verspertine and After Everything.

I recommend this album to those who enjoy Prog Metal and Math Rock. If you want a purely Jazz Fusion or Prog
Rock experience then this album may not be for you.

Rating: 3.5/5

BONFIRE Bonfire Goes Bananas (Jazz Rock/Fusion, 1975)

Thu, 7 May 2026 10:14:24 EST

Review by siLLy puPPy — One of the rather unsung Dutch prog groups that existed for a short time was the jazz fusion band
BONFIRE which emerged from the southern city of Bergen op Zoom and only stuck around from 1974 to
the following year but managed to release a single and a complete album in its short-lived history.
The band featured four amazingly adept musicians who sounded as if they had been playing together
for years rather than gathering for this one-off and calling it a day. Notable for their high energy
instrumental jazz-infused rock with a constant shifting from rambunctious energetic rock to slower
emotive almost proto-neo-prog sounding pastoral moments, the band has been compared to fellow
countrymen Finch for the razor sharp guitar work as well as Focus for its highly complex comparisons
that were as much progressive rock as it was jazz fusion.

The band's only album BONFIRE GOES BANANAS arrived when the prog scene was starting to cool off but
many acts were still forming and releasing albums especially in the field of jazz fusion as the
psychedelic haze of the 60s was starting to sober up and more complex musical styles filled the gap
before the new wave and punk takeover a few years down the road. The band featured the amazing
drummer Cees Meerman, the highly talented bassist Kees den Hoed, Eug]]>�guitar and flute and Frank Witte who doubled on keyboards and vibes but also found some flute
playing as well. The original album featured six wild tracks with the highlight finishing it all off
with the near 19-minute multi-segmented "The Sage Of The Running Nose" giving a clue to some of the
Canterbury influences in addition to the Finch and Focus-isms. There are also small whiffs of
Supersister to be heard as well.

What BONFIRE delivers on its sole release it's extraordinary and comparable to the bigwigs of the
day such as The Mahavishnu Orchestra, Return To Forever's later releases or even Billy Cobham's
energetic solo offerings. The band excelled on all fronts with incessant tempo and mood changes that
created startling shifts without warning all delivered with highly complex musical motifs raging on
with high energy stampedes yet without losing any of the emotive expressionism. The album ticks off
all the progressive rock trademarks as well as the world of jazz fusion. Perhaps an early version of
what now is deemed brutal prog, BONFIRE was a master of bowling your senses over with frenetic
fusion-laced over the top technicality and then without notice delivering a soft tender passage of
highly melodic magic with a never-ending reference book to all kinds of varying rhythmic shifts and
crazy angularities.

In reality this sounds like some sort of supergroup where Keith Emerson is on keys, John McLaughlin
on guitar, Christ Squire on bass and perhaps Bill Bruford on drums. Yeah, it's really that good.
Unfortunately music like this had peaked a couple years prior and complex instrumentally driven
jazzy prog rock was falling out of fashion but despite it all the band found a home on the EMI label
for its one shot but the album remained with no reissues well into the 1990s when the prog revival
was underway but since then it has seen remastered versions. This one is truly a lost gem that has
everything a seasoned stalwart of jazzy prog could ever hope for. It's playful, offers plenty of
technical bedazzlement and shifts mood styles that it's impossible to get bored with this one as
there is never a dull moment to find yourself drifting off.

It's hard to believe none of these guys moved on to better things as they seemed to have come out of
nowhere to deliver this scorcher of an album only to fade into utter obscurity. This is what you
call a lost classic as it works for me on every level. Better than Finch or Focus for me. Overall
it's an excellent album and almost worth 5 stars. The A side is definitely as good as it gets
however what drags the album a bit for me is the multi-suite closer "The Sage Of The Running Nose"
has many points where it plods along and loses the momentum that the A-side so brilliantly captured
however as a whole this is one amazing album and i really wish this band had stuck around to dish
out a few more doses of this intoxicating cauldron of coolness.

4.5 rounded down

THE GATHERING Always (Experimental/Post Metal, 1992)

Thu, 7 May 2026 10:13:53 EST

Review by siLLy puPPy — Formed in 1989 in the Dutch city of Oss, THE GATHERING has existed in three distinct forms since its
inception with only guitarist Ren]]>�remaining through all transitions. The band's history can be divided into the early atmospheric
death doom metal years which roughly covered the years 1989-94, the classic era where the band
shifted to atmospheric progressive rock with lead singer Anneke van Giersbergen at the helm and the
last era which kept the style in tact but found Norwegian vocalist Silje Wergeland replacing
Giersbergen. Like many i personally have been most familiar with the classic years that started with
the album "Mandylion" and ending with "Home" but in the beginning the band had a very different
style making it unrecognizable as the band that would find international fame.

The 1992 debut ALWAYS? is where it all started and given the almost universal low ratings for the
first two albums i sorta just ignored them but as it turns out, i seem to be on an opposite spin
from all the others who have joined the cult of THE GATHERING as i've never been blown away by the
band's prog rock years but am actually quite enamored with this debut album that sounds like a mix
of early Amorphis meets Type O Negative. One of the earliest examples of atmospheric death doom
metal with gothic rock influences, the first two albums featured the guttural growly vocals of Bart
Smits with the ethereal goddess charm of clean vocalist Marike Groot offering one of the earliest
examples of the "beauty and the beast" contrasting system. The album has also featured at least
three distinct album covers over the years with two emerging even in the same year 1992 when it was
released.

Stylistically THE GATHERING was quite unique when ALWAYS? hit the scene. It really doesn't sound
like anything else. With the snail's pace flow of something like what would become funeral doom
metal, the guitar tones and playing are more akin to the old school death metal scene yet the
atmospheric touches from the keyboards and piano remind me a bit of what Septicflesh would make a
career out of except THE GATHERING featured a compositional style all their own with lots of
attention paid to developing compositions that contrasted slow plodding tempos with occasional
faster tempos. The keyboards add the melodic touches imbued with gothic rock tones and textures with
a few moments clearly referring to the "Koyaanisqatsi" soundtrack from Philip Glass. The eclectic
touches are topped off by traces of flute, the triangle and wind chimes which offer some folk fueled
flavoring throughout its run.

Perhaps the keyboards come off as a tad cheesy at times but honestly this one works for me and quite
well. The death doom is eerie, gloomy and dark just like the style should be and the gothic touches
offer an extra dose of bleakness. The guitar tones are quite satisfying bringing back that
satisfying 90s distortion style that wasn't overly concerned with making everything so complex that
you had to revisit the album a hundred times like some modern tech death albums can demand. I'm not
necessary hating on the second era of the band but it has never really lit my fire either as it
seems a little too tame in many ways and none of the musical styles really have clicked. This one on
the other hand is as exhilarating as the earliest Amorphis releases bringing "Tales Of The Thousand
Lakes" to mind. For those who are into atmo-death doom and have skipped these early albums thinking
they suck, well i couldn't disagree more!

YOLK Solar (RIO/Avant-Prog, 2017)

Thu, 7 May 2026 09:57:27 EST

Review by VianaProghead — Review N]]>�
Yolk is a RIO/Avant-prog band from Dunkirk, in northern France. Their music is characterized by its subtle approach
to vocals, effects, and electronics, and has taken unique directions under the influence of bands and artists such as
Gong, Fred Frith (from Henry Cow) and The Residents, etc. Yolk is known for its experimental sound that blends
psychedelic rock, avant-prog and elements of Zeuhl. The band's music is characterized by being highly technical and
experimental. Their compositions can be extensive, with abrupt changes in rhythm and atmosphere, ranging from
intense and heavy moments to ambient and haunted passages. The use of saxophone and keyboards, along with
complex guitars and striking bass lines, reinforces their progressive rock vein. Their sound often includes
unconventional vocals. Vocalist Delphine Delegorgue often uses wordless vocal expressions and chants instead of
the traditional use of the lyrics.

Yolk apparently was formed as a pastime for French high school students. Initially, they operated in different music
styles, but a joint visit to a Gong concert then enriched their repertoire with spacey elements and jazz-rock. In 2001,
after several line up changes, the band met Fred Frith at a workshop, which would decisively influence Yolk's music,
transforming them into one of the stylistically improvisational bands quite typical of the new millennium. In that
year the band released their eponymous debut studio work, which established their experimental identity. In 2009,
they released a mini-album and performed at the RIO Festival in France. "You Decide" was released in 2011, a
continuation of the exploration of prog sounds. It was followed in 2017 by "Solar", which is considered their most
ambitious work.

"Solar" is probably their best work and one of the most pleasant and unexpected surprises. The rare beauty of the
beautiful cover is confirmed in the three extensive songs that make up "Solar". It's often cited as Yolk's masterpiece
and a landmark in modern experimental prog rock. It's a minimalist album in terms of the number of tracks, but
colossal in length and sonic ambition. If anything, the structure of epics over 10 minutes long seems to fit Yolk
perfectly. The recipe is based mainly on the stunning performance, interpretation and spark vocals of Delphine and
the energetic orgasmic playing. True to the band's identity, the album doesn't use conventional lyrics. The vocals
function as an additional rhythmic and melodic instrument, evoking rituals or trance states. Melodies and themes
follow one another with an enviable flow that conveys the listener to an avant-prog with a RIO base, intense
pompous and the peculiar psych Yolk element that makes the whole result unique. Rhythm is the main driver and
catalyst with an inviting groove.

The line up on "Solar" is Delphine Delegorgue (vocals), Valent]]>�saxophone), Antonin Carette (bass guitar) and Fabrice Brzoskiewicz (drums).

"Solar" consists of only three long compositions totaling approximately 38 minutes. The album opens with the title
track "Solar", which is more than 14 minutes long. This is an epic piece that begins with tribal percussion and
evolves into a haunting atmosphere, culminating in Zeuhl's style chants and an intense guitar work. It represents an
excellent start and is rather haunting. A catchy rhythm takes all over the track with a true experimental sound. The
second one, "Vanitas", which is more than 13 minutes long, explores dynamic contrasts, alternating between calm
keyboard passages and complex instrumental explosions. It begins with these nice guitar melodies followed with a
very special atmosphere and drums. Then, the vocals appear very powerfully. I like this intricate guitar work, as well
as the keyboard work. This is a powerful and intricate track with some amazing contrasts. The third and last track,
"Sepulchre", which is more than 10 minutes long, was chosen to end the album. The album's closing track, marked
by a strong presence of electric piano and a powerful vocal performance by Delphine. This is a track dominated by
drums, keyboards and guitar and the vocal melodies are amazing. This is really an amazing track in the same vein
as the opener, and is quite great.

One last thing. The cover art of the album features a painting titled "Sepulchre" by artist Marc Burckhardt, reflecting
the dark and surreal tone of the music of Yolk, not to be confused with the other RIO/Avant-Prog band from
Switzerland.

Conclusion: "Solar" is particularly recommended for fans of bands like Magma, Guapo, or the Japanese Avant-prog
universe, due to their ability to blend controlled chaos with hypnotic melodies. As I mentioned above, "Solar" is a
very minimalist work in terms of the number of tracks, but colossal in length and sonic ambition. "Solar" is a fairly
cohesive album. It offers an intense and varied journey through Zeuh influenced and avant rock landscapes, which
develop a quite unique character. But, we cannot say that it's exactly easy listening. "Solar" is quite challenging and
intense for long stretches, which makes it difficult to access the music initially, as it only fully unfolds after repeated
listens. But, in the end, "Solar" proves to be a thoroughly successful album that should appeal to any adventurous
Rio/avant-prog fan.

Prog is my Ferrari. Jem Godfrey (Frost*)

RAINBOW Difficult to Cure (Prog Related, 1981)

Thu, 7 May 2026 09:45:36 EST

Review by A Crimson Mellotron — First Rainbow album with new frontman Joe Lynn Turner and newcoming drummer Bob Rondinelli, as we
see the further commercialization of the band's sound, most likely reflecting Ritchie Blackmore's
fascination with Foreigner. 'Difficult to Cure' is, of course, the fifth studio album from Rainbow,
a well-established rock band by the end of the 70s that had to reinvent itself in order to stay
relevant. With the general public's growing fascination with radio-friendly music (in the face of
new wave, synth-pop and AOR), the Blackmore-led collective attempted to record an album that is
heavy but pleasing and accessible, with just the right number of commercial elements. To me, this
record preserves a lot of the characteristic Rainbow traits, particularly the strong melodies and
the classical-inspired guitar riffs, together with the energetic rhythm sections that we were used
to hearing on albums like 'Rising' and 'Long Live Rock 'n' Roll', but the overall sentiment is that
of a repetitive and at times mediocre collection.

Starting off rather well, with three really strong songs that are stylistically similar to the
material on 'Down to Earth', we get to experience the powerful voice of Joe Lynn Turner, who would
sing a little higher than usual for Rainbow, and would gradually adjust his technique to this mode
of singing, which is quite interesting. And so, we have 'I Surrender' - one of the most recognizable
Rainbow hits, together with 'Spotlight Kid' and 'No Release', both of which are vibrant rock tunes
with fantastic instrumentation. The last track on side one, however, is pretty underwhelming
('Magic'). Side two then impresses with two excellent instrumentals: 'Maybe Next Time' and the
closing title track, both of which focus on the guitar mastery of Ritchie Blackmore but also feature
some delightfully technical playing from Mr Don Airey on the keyboards. Of the other songs
completing the album, 'Midtown Tunnel Vision' is perhaps the more intriguing one, while the rest is
mostly predictable AOR that once again strongly resembles Foreigner. And while this record is
definitely not among the band's best, it is a decent attempt at a more marketable rock sound, which
is why it is probably one of the more underrated Rainbow albums ever.

PLANETARIUM Infinity (Rock Progressivo Italiano, 1971)

Wed, 6 May 2026 22:18:52 EST

Review by The Progolyte — I was originally planning to skip over this record and in its place put a more famous and acclaimed album,
but I was just captivated by the record's really cool cover and decided to check it out. In the end, while it is
far away from being listed as a true classic or masterpiece of Rock Progressivo Italiano, it still did its job as
standing as yet another sole album by a one-and-done Italian band. The music here isn't quite as heavy as
other bands around this time, and instead Planetarium creates a trippy and pastoral atmosphere in their
music, something that's a lot more calming and less insane. While there are no vocals on the record,
judging by the song titles, I'm assuming it's another concept album that was centered on the history of
Earth and its life and surroundings, sort of similar to the idea of Io Uomo by Ricordi D'Infanzia. The lineup
includes Franco Sorrenti and Mirko Mazza on guitar, Alfredo Ferrari on keyboards, Piero Repetto on bass,
and Giampaolo Pesce on drums.

The album's opening is an atmospheric sound collage with minimal input from the band, so I won't really
touch on that, but the next two songs, Life and the two-part suite titled Man, are a soft and easygoing form
of folk and the Rock Progressivo Italiano sound, sometimes even coming close to chamber folk and
chamber music in the second part of Man after a bunch of cool classical instruments are introduced via
various keyboards. Most of the record follows the direction of the second song, Life, where it is mellow and
quiet all the way through, maybe something close to soothing rock is introduced, and then the song ends.
It's not that complex, with all of the tracks being quite short, but they're still enjoyable and have a pretty
element to all of the numbers. All of the tracks have their own characteristics that make them stand out
from each other, but that is basically the whole album. There really isn't much more to add, but the songs
were between good and really good and nothing more or less (ignoring the opening piece).

In conclusion, I think the certain style the band was going for with this album could've worked, it just
needed some more work and a deeper depth in the central core of the music. This one is probably a mid
3.5 for me, as I liked the direction and overall sound, but it could use some improvements.

MIKE OLDFIELD Music of the Spheres (Crossover Prog, 2008)

Wed, 6 May 2026 20:20:33 EST

Review by Dapper~Blueberries — With a career spanning easily five decades, Mike Oldfield has had quite the lofty discography to go
around. It's much thanks to his incredible skills as a composer that he reached some level of
stardom. However, there is something that always bugged me about his composition style, and that it
would be perfectly suited for a classical sound, like Beethoven or Mussorgsky. Well, he does have
one, and that happens to be Music of the Spheres.

Now, normally I don't do this, but I'd actually like to tell you why I am reviewing this record of
his in specific, and not any of his other dozens of records. Simply put, I think this record is
underrated, and yes, I know, underrated is a word that has been thrown around a ton, especially
online. "Everything I like is underrated and everything I don't like is overrated" and yada yada
yada. But in this case, I honestly really do mean it. This record feels like it's rated way too low
for what it is worth.

I find Music of the Spheres to be a joy to listen to, as it feels though this was where Oldfield's
music was naturally heading, ever since his debut of Tubular Bells. He creates a suite that, while
not totally ground breaking, does carry a lot of weight as it certainly does feel like he has always
wanted to make something to this equivalence.

I think aided by the fact this was released in the late 2000s, and thus the production sounds as
good as it does, and this album shines quite well amongst the man's other suites like Ommadawn and
Amarok.

I will say though, this certainly does pull a bit from Tubular Bells, which isn't that surprising as
Mike Oldfield was having a nostalgic frenzy over the thing since 1992. The intro of Harbinger is
very much based on the little piano melody of Tubular Bells and Tubular Bells II, almost down to a
T, and the ending movement of Musica Universalis is basically the ending movement of Tubular Bells
Part 1. I don't mind this as much as some people do, but I will be quite critical. It does kind of
feel like Mike Oldfield is using his own music as a crutch more than anything on here. I think
overall, Music of the Spheres does hold its own, but at the same time feels like it's dipping a bit
into the old.

But yet, I still wonder why this one isn't as popular as it should.

My working theory is that because it's classical, through and through. Mike Oldfield has always had
a knack for making music in more modern styles, throughout his career. Rock music, pop music, new
age, world music, house, trance. All of these are genres that are seen as "new" in some capacity.
Rock music is not even a century old yet, pop changes on a dime, new age has become more
electronically focused, world music may have been around for centuries but has only become public
knowledge fairly recently, house is most certainly new, and trance as well.

And even if Mike's projects in these genres might not make as much of a splash as you would think,
they still have some noteworthiness within the Mike Oldfield fandom. Yet, I rarely see any talk on
Music of the Spheres, and that might be because, since this is purely classical, this record is seen
as much older, or less inventive as Oldfield's other works. Sure it's not hated, but it's not loved
either, which is a shame because if you give it a chance, this record does feel quite magical, and
I'd say just as well as the stuff Mike Oldfield is known for.

I think, if there is one record I'd unironically call underrated, it'd be this one. Music of the
Spheres is a treat that deserves more recognition, even if its negative recognition. Because it
should be as big as the work that Oldfield has been known for in his 50 year long career.

Best tracks: Animus, Shabda, On My Heart, Harmonia Mundi

JAN GARBAREK Places (Jazz Rock/Fusion, 1978)

Wed, 6 May 2026 14:04:32 EST

Review by BrufordFreak — I have been avoiding Jan Garbarek albums for a while and they're piling up: nine to go in order to complete his 1980s
projects as bandleader. Wish me luck. (I'm going to need it!) This album was recorded in December of 1977, the
original album being released by ECM in 1978.

1. "Reflections" (15:05) a song that opens with sparse saxophone wailing over droning organ chords with nary a string
or cymbal sound until the fifth minute when light ministrations of both (acoustic guitar strings and drum kit cymbals)
join in. De Johnette and Connors both expand their footprints with snare and toms and guitar chords and legato runs
in the sixth minute--Garbarek even clearing out while the two play off one another. Bill Connors on steel-stringed
acoustic guitar sounds a lot like a cross between Al Di Meola and Larry Coryell: at times deceptively smooth, at others
dynamically abrasive. Jan returns in the ninth minute as Bill returns to chord strumming and arpeggiation as Jack
continues playing his funky syncopation. (Whatever happened to John Taylor? Oh! 11th minute: there he is!) The music
is made far more interesting by Jack's drumming; I'm not sure I could bear it without. (Does Jan Garbarek ever play
anything differently? I feel as if he's playing the same notes and style here that he did back in 1971 and will in 1986!) At
12:30 it sounds and feels as if the song were going into a long, slow fadeout but then the three melodists show
themselves: at first very lightly but then with increasing presence. Meanwhile, Jack just keeps on keepin' on: grooving
on that funky syncopated foundation. (26.25/30)

2. "Entering" (7:50) the sax and organ opening here sounds like we're being prepped for a heart-strings-pulling movie
soundtrack. Connors takes the lead over from Garbarek at the 1:30 mark, but only for a few bars before Jan returns
with the organ swelling slightly. Yes, it's a Burt Bacharach soundtrack to a schlocky rom-com like Arthur's Down in the
Dumps. At 3:40 the intro finally ends and Jack joins in with some organ and guitar chords to set up a forward-moving
pop-rock motif (slow). Jan takes the first verse, then Bill, then back to Jan. It's a duet! Kenny Loggins and Dionne
Warwick! Smooth Jazz without any of the Jazz! (13/15)

3. "Going Places" (14:12) a little Pat Metheny-style take on Star Wars' "Main Theme." I do like this style for Bill Connors-
-and the atmospheric drumming (dominated by cymbal work) from Jack. It reminds me of Pat and Lyle's (and Nana
Vasconcelos)' 1981 epic, "As Falls Wichita, So Falls Wichita Falls." And Jan's octave-oscillating sax play here actually
works--doesn't bore or feel like finger nails on a chalk board. And John Taylor's long-sustaining organ chords feel very
much in line with the stylings used by Lyle in "Falls." In the middle Bill's solo begins to sound a bit like a melodic John
McLaughlin solo (Time Remembered: Bill Evans period)--which I fully endorse. And Jack seems to really be getting into
it, which I always love. But then Jan starts blowing the Star Wars theme notes really hard and I find myself recoiling
despite John and Jack's efforts to distract me. Raise your hand if you really like Jan Garbarek's sax playing! Anybody?
Anybody?! See! Nobody! So why did he get so famous--and how did he get into ProgArchives when so many other
deserving artists have not? (26.75/30)

4. "Passing" (11:18) same palette: organ, sax, acoustic guitar, drum kit, all seeming to celebrate the space they can
create in opposition to their notes. Again, there is something that previews many of the softer, heavily-nuanced
passages that Pat Metheny and Lyle Mays will become quite famous for in the next decade. Is this where they learned
it? Were they just trying to emulate the Jan Garbarek effect? And, if so, why? What is so consuming about Jan's music
(or playing) that people want to make stuff just like it?
My favorite part of this song are the occasional tidal swells of John Taylor's organ play--which, of course, Jack is
quick to react and respond to. The very sudden ending is a bit bizarre but what can the consumer do? You get what
you get! (18/20)

Total time 48:25

B-/3.5 stars; an interesting collection of drawn out, often cinematic or tension-filled spacious music that, for me, is
made most tolerable by the presence of the great Jack De Johnette. The album seems most noteworthy to me for
showcasing a style of music that future artists like Pat Metheny and Lyle Mays would be championing in parts of their
compositions over the next ten to 15 years.

KING CRIMSON Jakszyk, Fripp and Collins: A Scarcity of Miracles (Eclectic Prog, 2011)

Wed, 6 May 2026 12:21:35 EST

Review by A Crimson Mellotron — Sometimes considered the last studio recording of King Crimson, 'A Scarcity of Miracles' is more of
a one-off off-shoot project involving past and future members of the band, as the name of the
project actually suggests. This is a collaborative work between guitar architect Robert Fripp, sax
and flute player Mel Collins (member of Crimson from 1970 until 1972), and gifted English musician
and actor Jakko Jakszyk, who would later go on to become the frontman of the reformed and touring
King Crimson. The trio is joined by longtime bass and Stick player Tony Levin as well as ex-
Porcupine Tree drummer Gavin Harrison, who would also go on to spend significant time with Fripp's
updated Crimson. Born from extensive instrumental sessions between Fripp and Collin, 'A Scarcity of
Miracles' is a serene and improvisational record that features a rather ethereal mixture of ambient
soundscapes and jazz fusion playing, laying the foundations for the sound of the future incarnation
of King Crimson.

The basis of most of the songs appearing on this LP are electronic soundscapes recorded by Robert
Fripp, with Jakszyk building upon these existing recordings. While different compositions were
taking shape, originally there had been no intention of recording an entire album. In any case, the
six pieces that became 'A Scarcity of Miracles' do represent a beautifully haunting collection of
Crimson-esque compositions, elegant and soaring, but also inviting and refined, with the excellent
production also shining through quite often. The sound is contemporary yet nostalgic, remotely
echoing some of the mid-70s Crimson records ('Starless', 'Red'), while the vulnerability and finesse
of Jakszyk's voice complement the graceful songs in a befitting manner. The fine balance between the
electronic soundscapes, the swiveling saxes of Mel Collins, the ethereal and melodic guitars of
Jakszyk, and the more angular playing of Fripp speaks of great instrumental mastery, confidence, and
maturity, rendering this album a delightful jazz-rock treat even for the most dedicated of prog
enthusiasts. The highlights on this record would definitely include the gorgeous title track, the
atmospheric number 'Secrets' as well as the poetically determined 'The Other Man', but really, each
piece on here is cinematic and contemplative in its own way.

FINCH Glory Of The Inner Force (Symphonic Prog, 1975)

Wed, 6 May 2026 09:42:50 EST

Review by siLLy puPPy — One of the big three of 70s Dutch symphonic prog, FINCH was formed in Den Haag in 1974 as a rather
latecomer in the prog party but stood out for its eclectic all-instrumental approach that
incorporated healthy doses of jazz fusion and knotty technical virtuosity to the more reserved
symphonic prog acts of the day. Formed by ex-members of the R&B band Q65 that included bassist Peter
Vink and drummer Beer Klaasse, the band evolved into a quartet once guitarist Joop Van Nimwegen and
keyboardist Cleem Determeijer joined ranks. Despite all best efforts to score a competent vocalist,
FINCH settled on crafting wild energetic instrumental compositions which found them compared to
contemporary acts like the Mahavishnu Orchestra or Camel.

The band released three well regarded albums from 1975 - 1977 beginning with the strongest of them
all, the stunning debut release GLORY OF THE INNER FORCE. The album is characterized by four lengthy
tracks, all of which exceeded 9 minutes playing time with the closing "A Bridge To Alice" exceeding
13. Modern reissues include even more bonus tracks titled "Colossus Parts I & II" which were
originally released as a non-album single. What's immediately apparent when the feisty "Register
Magister" begins the album is how heavy and feisty this foursome was with fast tempos, extremely
rough around the edges rock energy and the technical wizardry of the band members playing in tight
unison while navigating hairpin stylistic shifts and a plethora of varying musical motifs.

Emulating somewhat the virtuoso majesty of Emerson, Lake & Palmer, this foursome could pull off the
same technical chops with ease and although the guitar is a lot more pronounced than the average
prog band of the era (save the Mahavishnus), the keyboard antics of Determiner are equally
impressive showcasing a clear reference to Keith Emerson only with a more reserved Rick Wakeman
finesse. Equally dynamic however are the powerful bass and drumming sections which exceed mere
rhythmic time keepers and exhibit crafty skill equally as impressive as the guitar / key combo
effect. The band easily holds their own without the aid of a vocalist to deliver some kind of lyric
based message and although the music can come off as abstract as it almost sounds like a precursor
to prog metal in many ways, the dynamic diversity of tempos, timbres, tones and triumphant energetic
performances is awe inspiring.

Perhaps where FINCH falters is that the influences are rather apparent and despite the technical
displays of a powerfully played album's worth of material that it's clear that Van Nimwegen isn't
quite up there in creative talent as John McLaughlin and Determeijer is clearly in Emerson worship
territory much of the time however despite the band perhaps not rising to the absolute top royalty
thrones of the 70s prog world, there's not denying that GLORY OF THE INNER FORCE is a tour de force
second tier prog act to be noticed laced with enough musical mojo and subtle creative fusion ideas
to keep it fresh enough to warrant an essential tag for prog lovers who want to explore beyond the
absolute cream of the crop. The band's melodic touches are quite beautiful and the attention paid to
the dynamics which cast atmospheric drenched softer passages with more guitar angsty heaviness is
the absolute essential ingredients to craft a cleverly designed prog winner from the era AAAND gotta
love that stunningly gorgeous album cover art. Personally i prefer this album to many of Focus'
works.

MR. ALBERT SHOW Mr. Albert Show (Crossover Prog, 1970)

Wed, 6 May 2026 09:42:36 EST

Review by siLLy puPPy — The comically named MR ALBERT SHOW was a short-lived Dutch progressive act that formed in Eindhoven
in 1969 and stuck it out until 1973 releasing two albums along the way and a few singles. Known for
its psychedelic take on bluesy jazz rock, MR ALBERT SHOW was named after their road manager and
known for their robust sound that has been referred to as a cross between Colosseum and the German
Kraut-jazz act Xhol. The band was a six-man act that featured Bertus Borgers (vocals, flute,
saxophone), Tom Fautubun (bass guitar), Bonki Bongaerts (organ, piano, harmonica), Erik Lintermans
(lead guitar) and Roeland (Broer) Boogaart (drums, percussion) along with vocalist Floortje Klomp.

The band scored an instant top 40 hit in their native Netherlands with the single "Wild Sensation"
which demonstrated the band's crossover appeal where 60s psychedelic pop cozily coalesced with the
more demanding sounds of jazz rock and early prog that were gestating about this time. The band's
debut eponymously titled album was released in 1970 after attracting attention with their highly
energetic and captivating live performances throughout Holland and quickly scored a recording
contract on the Philips label with many reissues on various other labels over the years.

While the songs themselves are pretty much geared towards crossover success, the musicians on board
were competent enough to dish out some serious chops which included a beefy bass groove, excellent
funky guitar work and lots of saxophone and jazzy touches. One of the most prominent features is the
trippy psychedelic organ sounds that keep the album rooted in the 60s while capturing the zeitgeist
of the blossoming more progressive realms of music although the album is more akin to proto-prog
than anything from the King Crimson or High Tide camp for sure. The album itself featured nine
tracks at slightly over 37 minutes and brings to mind many of the brassy jazz rock bands of the day
in the same camp as bands like Brainchild, Colosseum, Galliard, The Greatest Show On Earth, Heaven,
If, Walrus and the Keef Harley Band.

Overall MR ALBERT SHOW's debut is a competent and pleasurable slice of the more accessible side of
jazz rock from the era and unlike many of the vocalists of the era, Floortje Klomp's style is quite
pleasing as well reminding me a bit of the vocals in Gnidrolog. A nice throwback to the brackish
waters of 1970 where the rules of the prog playbook weren't established and creativity was running
amok. Unfortunately despite the competency displayed on this debut album, the album doesn't really
stand out in any particular way as the style had been done better by Chicago and Colosseum and MR
ALBERT SHOW doesn't exceed that level of creative edge. For those digging into the nooks and
crannies of early 70s Dutch progressive music though this one should not be missed. The band
released one more album titled "Warm Motor" in 1971 and managed to stick around for another two
years before taking that proverbial permanent leave of absence.

3.5 rounded down

ALPHONSE MOUZON In Search Of A Dream (Jazz Rock/Fusion, 1978)

Wed, 6 May 2026 07:29:43 EST

Review by BrufordFreak — What a line-up! My expectations can't help but be elevated. In Search of a Dream was recorded in Stuttgart, Germany,
at Zuckerfabrik, between November 20'24, 1977, for MPS Records, with the album bing released as a vinyl LP early in
the next year.

1. "Nightmare" (6:07) one of the Philip Catherine performances that reminds me that he probably should be
considered among Jazz-Rock Fusion's greatest guitarists. Miroslav Vitous and bandleader Al really shine throughout
this up-tempo Power Fusion tune as does pianist Joachim Kuhn. Al lays down an absolutely awesome drum solo in the
third minute. (9.333/10)

2. "Electric Moon" (4:50) encroaching into the territories being explored by Third Wave J-R Fusion artists like Return To
Forever, Nova, and Brand X, a slower, more television-soundtrack-oriented tempo is played while Stu Goldberg's keys,
Miroslav's fretless "underwater" bass, and Al's drumming sound like NOVA's team of and Narada Michael Walden,
respectively. Nice song with a very comforting sound palette. (9/10)

3. "Shoreline" (4:30) here's one that opens sounding like a Weather Report tune--complete with the Jaco-like fretless
bass sound being played by Miroslav--but then at 0:45 the sax and keys take it into a more Jazzy motif but Miroslav's
Jaco Pastorius-like bass play, Bob Malik's Smooth Jazz tenor sax, and Joachim's Chick Corea-like piano playing bring it
back into a kind of Weather Report area. Thanks to Joachim's wonderful keyboard work I like this better than most WR
songs. Al's work here is subdued, making his contributions practically negligible. (9.125/10)

4. "The Light" (3:21) violin-sounding bowed double bass is the featured instrument on this otherwise-RTF like song. Al's
drumming are right in the Power Fusion category occupied by Lenny White and Narada Michael Walden. Nice. (9/10)

5. "The Unknown Journey" (4:00) opening with a two keyboard-arpeggiated chords within which guitar, bass, and
drums drive us forward at a comfortable, leisurely pace while Bob Malik plays a sax line as the presenter of the main
melody. Nice. I like Al's almost-aggressive play--even the crashing cymbals. Miroslav gets the second solo before an
electric piano gets a turn. (Is that Al or Joachim?) Nice song--especially if you want to really get a listen to some great
drumming. (9.25/10)

6. "The Ram And The Scorpio" (5:53) flying out of the gate like a bat out of Carlsbad Al, Miroslav, Philip, Stu, and
Joachim seem to be on an important delivery run as they collectively support solos from electric guitar, organ, and
electric piano. As with the album's opener, Philip Catherine is really impressive. (Why couldn't he be more consistently
impressive like this on every album I've heard him contribute to?) Stu Goldberg's organ play is also quite impressive
and enjoyable and his MiniMoog duel with Philip is top notch. (9.25/10)

7. "In Search Of A Dream" (4:51) mellowing us out a little after those last few, we're almost in the comforting near-
Smooth Jazz territory of Narada Michael Walden's solo career. But this turns out to be yet another showcase for the
talents of Philip Catherine. (Which begs the question of why was his career so spotty: why weren't all of his
contributions as a collaborator as good as this?) Al, Miroslav, and Joachim are so solid--each worthy of singling out.
Unfortunately, Bob Malik's sax kind of lowers the bar by bringing the music into that Dave Sanborn area of schlocky
Smooth Jazz. (9/10)

8. "Playing Between The Beat" (2:34) flanged drum soloing opens this and then continues for the song's duration with
some clapping and vocalized percussive noises joining in the mix during the song's second half. Weird that it's taken
me so long to appreciate Alphonse's skills and talent because he is good! (8.875/10)

9. "Nothing But A Party (incl. "Happy Birthday")" (3:58) group singing of "Happy Birthday" in a single room setting
opens this before the band set up a Disco funk motif for multi-track sax harmonized melody to play over. Nice to hear
that these guys can play funk and Disco--Philip Catherine rhythm guitar and wah-wah lead, Miroslav Vitous slappy funk
bass and wah-wah bass, Alphonse Disco drums, and even Joachim Kuhn the chord-stylings required of the electric
piano. Kind of cool! (9/10)

Total Time 40:04

Finally Al has realized that his skill set enables himself to make music of the highest caliber of Jazz-Rock Fusion's Third
Wave: as a Power Fusionist--especially if he surrounds himself with the right crew of collaborators. With this album he
has accomplished that.

A-/five stars; a minor masterpiece of excellent Third Wave Jazz-Rock Fusion. Highly recommended for the EXCELLENT
drumming, bass play, and lead guitar work.

WOBBLER Hinterland (Symphonic Prog, 2005)

Wed, 6 May 2026 04:00:34 EST

Review by Fercandio46 — There are bands that have boots from their very first steps and leave their mark; these Norwegian boots leave the
W of Wobbler on the floor in their wake, even in their early days...where inspirations and influences are the starting
point to build something more, perhaps something new, a floor and not a ceiling.

Hinterland begins by recalling Emerson, Lake & Palmer, but then, with the mellotron, they construct truly original
sections. Later, influences of Peter Gabriel are evident in the vocals, and musically, Gentle Giant, with its guitar and
keyboard progressions. Not many bands have followed such a winding path, with the possible exception of Spock's
Beard at times. But despite all these influences, a unique sound emerges, and more importantly... the will to create
it even before it's fully realized.

When they delve into medieval territory, they do so with such realism that you can almost see the candles until the
wind blows them out during the dark and heavy sections, with guitar and keyboards twisting and turning like Keith
Emerson's, classic and groundbreaking at the same time. Most importantly, they take the time to play, to
experiment with sounds, noises, and atmospheres. You can hear the bass and a keyboard... they take the time to
build connecting sections and leave them in the final mix, and all of this on their debut album!
The final section of Hinterland is reminiscent of Genesis at times, transitioning into almost chamber-like
atmospheres, with that signature sound that Tony Banks, Steve Hackett, and Mike Rutherford knew so well how to
create. Lars Fredrik Fr]]>�composition and sound. A touch of metal in the rock section is welcome, which they skillfully alternate with
keyboards and then flute in a symphonic, flamenco-infused finale.

Rubato Industry has the ability to make us abstract ourselves from reality, from the era we live in, and introduces
us to the Crimson universe, but then it goes further. There's deep metal, more than one arrangement layered
simultaneously, new ideas, and this capacity for abstraction is present throughout the entire album and promises
to be a hallmark of the band, whose imprint will be so strong that it will endure despite future lineup changes. In
this case, the whole is also greater than the sum of its parts.
Kristian Karl Hultgren on bass and Martin Nordrum Kneppen on drums are ever-present, forming an unbeatable
foundation upon which the rest of the band rests.

This is a winter album...it's a Shakespearean album, evident once again in Clair Obscur, and I never cease to be
amazed by such a display of nuances, like in the pioneering bands, and yet it sounds like snow, ice and thawing, the
Baltic Shield.

At times, the trio of keyboards, bass, and drums sounds incredibly rich...only then does the guitar join in,
crystallizing a strange melody, a new harmony. Isn't that what we're looking for?

It's like rolling dice...we know what goes in...each number is an influence, an inspiration...but we don't know what
will come out when we put them on the table, because those same numbers...those same influences...will result in
something completely new.

JETHRO TULL 50 for 50 (Prog Folk, 2018)

Wed, 6 May 2026 03:15:13 EST

Review by fuxi — A fascinating collection, but who is it for? For your long-lost uncle, who was stranded on a far-away island for
over 40 years without electricity and whom you're trying to introduce to classic rock? For your teenage niece or
nephew, but do they ever listen to CD compilations? For yourself perhaps, if you're a Jethro Tull fan and you just
need a collection of juicy bits? (I myself once bought a double album similar to this but less comprehensive: the
1993 ANNIVERSARY COLLECTION.)

Let's presume this is Ian Anderson's visiting card. After all, he compiled the whole thing himself, so it seems this
is how he wants us to remember the band he co-founded. There's just one small problem: ever since 5O FOR 50
appeared, Jethro Tull has been resurrected! At the time of writing (May 2026) they've released three brand-new
studio albums, so in the not too distant future we can probably expect a new compilation called "60 FOR 60".

Did Mr. Anderson do a good job? On the whole, I'd say: 'Yes, definitely.' The collection starts out really strong,
with no less than 14 tracks that mainly cover the band's early blues/heavy rock style. The music is very forceful,
there's not a weak track to be found, but I must immediately modify my statement: (1) Ian's idiosyncratic vocals
and flute-playing have never really been bluesy; right from the start they lend a folksy flavour to the music; (2)
superb as they are, 'Mother Goose' and 'Life's a Long Song' are predominantly acoustic, i.e. not 'heavy' at all.

After that, the music takes a left turn, with a delightful passage from one of the greatest JT albums, A PASSION
PLAY. And things then get REALLY weird: we haven't even heard anything from SONGS FROM THE WOOD, and
suddenly there's the turgid 'Weathercock' (from HEAVY HORSES) which hardly has a tune and which is
completely spoiled for me, by Ian's over-harsh voice.

CD no. 2 starts promisingly, but Ian then makes the mistake of including the full 8:53 min. version of 'Heavy
Horses' (the title track), which just goes on and on and on... Would have been far better if he'd given us a longer
excerpt from THICK AS A BRICK. (He now cuts off just before "The poet and the painter...", which is a shame.)
Now I must admit he's adept at choosing the most appetising tunes from each album (after the quirky 'Hunting
Girl' even 'Bungle in the Jungle' sounds refreshing) but sometimes I wonder if he's fully aware that Jethro Tull
have never been what they once were since John Evan, Dee Palmer and Barriemore Barlow flew the coop.
Anyway, there are no further problems with CD 2, all the remaining compositions are delightful (apart from
'Pussy Willow'), it seems obvious that neither Jon Anderson, nor Peter Gabriel nor Tony Banks have treated us to
as many sprightly tunes as Ian!

CD 3 is the most problematic of the three. The fact that every JT studio LP simply HAD to be included causes
trouble here: 'Kissing Willie', 'North Sea Oil' and 'Broadsword' are all eminently forgettable, but hey, that still
leaves us with ten fully enjoyable tracks and I'm glad both 'Budapest' and 'Farm on the Freeway' are included,
Ian impresses me even as a Mark Knopfler copy-cat.

So if you have that uncle, niece or nephew... You could always encourage them just to stream this collection.
Only one thing's clearly missing, in my opinion: something like 'Back-Door Angels" or 'Black Satin Dancer', which
features one of those incredible (Barriemore Barlow-supported) Martin Barre lead guitar outbursts.

PAIN OF SALVATION Road Salt One (Progressive Metal, 2010)

Wed, 6 May 2026 02:31:59 EST

Review by Fleishmann — Road Salt One by Pain of Salvation is, for me, easily their best album. It feels like a bold left turn that totally pays off.
Instead of leaning into their usual polished, progressive sound, they went for something much rawer and stripped-
down, almost uncomfortably honest at times. That lack of heavy production gives the whole record a gritty, organic
vibe that's seriously refreshing. You can hear every imperfection, and that's exactly what makes it work?it feels real.
The songs hit harder emotionally because nothing is hiding behind layers of gloss. It might not be what every fan
expected, but that's part of its charm. Honestly, this is Pain of Salvation at their most authentic, and I don't think
they've topped it since.

TOOL Lateralus (Experimental/Post Metal, 2001)

Wed, 6 May 2026 02:29:32 EST

Review by Fleishmann — Lateralus is, honestly, Tool at their absolute peak. For me, it's their masterpiece?everything just clicks in a way that
feels almost unreal. The mix of complex rhythms, trippy structures, and deep, almost spiritual themes never feels
overdone; it all flows naturally. Every track pulls you in and demands your full attention, but it pays off big time the
more you listen. There's a sense of balance here?technical but still emotional?that's really hard to pull off. I
genuinely doubt they'll ever reach this level of creative fullness again in any later release. Lateralus isn't just a great
album, it's the kind of record that sticks with you and changes how you hear music.

PENDRAGON Men Who Climb Mountains (Neo-Prog, 2014)

Wed, 6 May 2026 02:24:05 EST

Review by A Crimson Mellotron — Of Pendragon's lesser-known albums, 2014's 'Men Who Climb Mountains' is a record that remains
somewhat of an outlier in the band's catalogue. The follow-up to the heavy-headed albums 'Pure' and
'Passion', on which the band had explored aggressive riffs and fast-paced writing, is a record that
oversees an alternative heavy prog sound, perhaps vaguely similar to the music of Porcupine Tree and
The Pineapple Thief, with a strong focus on the emotional resonance of the songs and the crafty
guitar work of founding member Nick Barrett. Yes, this album is indeed almost entirely deprived of
the symphonic sheen of the classic Pendragon albums, as the keyboards play a more background role
here. And with the songwriting to the fore as well, the arrangements are slightly more complex than
on 'Passion', for example, as the majority of the songs on this LP exceed the 6-minute mark and
feature peculiar shifts and tone changes.

'Men Who Climb Mountains' opens up with a short piece that anticipates and relates to the first big
song on the album, the excellent and moving 'Beautiful Soul'. This track is a perfect blend between
the emotive melodicism within Barrett's music, and his expressive guitar playing, exuding
similarities to what Steve Rothery does with Marillion. 'Come Home Jack' then features several fine
themes but its chorus is definitely not that great; and at eleven minutes, this mini-suite can feel
a little exhausting at times. 'In Bardo' and 'Faces of Darkness' are tremendous songs with a very
strong alternative rock influence, where the melodic guitar playing strikes you as moving but
comforting in a way that resembles some of the classic Camel records. Both of these songs are
slightly darker, however, especially by Pendragon's standards, so they might end up being
misunderstood by the fans of their more symphonic material. The album's finale is unfortunately very
forgettable and features a couple of mediocre songs ('Explorers of the Infinite', 'Netherworld'),
within which I struggle to find an intriguing hook or an astounding sound. And so, it seems like
some of the experiments on this album did not pay off as expected, rendering 'Men Who Climb
Mountains' as a fine and emotive album that nevertheless fails to capture all the qualities of
Pendragon's music.

CINCINNATO Cincinnato (Jazz Rock/Fusion, 1974)

Tue, 5 May 2026 21:06:45 EST

Review by The Progolyte — Here we have yet another Italian band who had its life cut short. Lasting between 1970 with the name Eros
Natura and splitting up in 1973, the group Cincinnato has your classic jazz rock sound of the seventies,
although the Rock Progressivo Italiano twist that was found on other Italian jazz bands such as Arti E
Mestieri, Dedalus, and Napoli Centrale is still here, and the sound here is a lot smoother and less complex
overall. While it's still good, I would like if they had more keyboards on here instead of just an acoustic
piano and some minimal background synths. Another problem I had with the record is that it sounds like
their levels of energy on here are low and it isn't all that exciting. On the brighter side, the mostly
instrumental music allows for some great portions of soloing and jams to be sprinkled into the longer
tracks. The album's personnel includes Gianni Fantuzzi on guitar and vocals, Giacomo Urbanelli on
keyboards, Annibale Vanetti on bass, and Donato Scolese on drums.

The album is composed of only four tracks, with side one having the three shorter ones and side two
containing the giant twenty-minute-long side-long suite. Most of the music here is low and smooth jazz,
with the guitar tone rarely going into distorted territory and always remaining at a quieter level. Most of the
keyboard arrangements, as I mentioned above, aren't really taken up by real keyboards and are instead
filled with acoustic pianos. Moving on to the actual music, the album's opener, Ribelle Ubriaco, is a really
good ten-minute-long composition that is full of really interesting arrangements, though it still isn't the
most complex thing on the album. The shorter two minutes of material on Tramonto D'Ottobre and the
seven minutes of Esperanto are both okay pieces, although they are a lot quieter and smoother and lack a
driving force in them. Side two's lengthy suite called L'Ebete is probably the best thing on here. It can get
quite technical at points and is full of intricate passages. This is also the only song to actually contain vocals,
but they're only in the opening minutes so the band has space to fully exercise their creativity.

In conclusion, sure, it may not be the best Italian jazz album out there, but there is still some pretty decent
material on here that does a good job at pleasing me musically. I'll be awarding this album a very strong
3.25/5, but it might also reach the territory of a low 3.5/5.

DE DE LIND Io Non So Da Dove Vengo E Non So Dove Mai Andr�, Uomo � Il Nome Che Mi Han Dato (Rock Progressivo Italiano, 1973)

Tue, 5 May 2026 21:03:46 EST

Review by The Progolyte — Getting their name from the American model of the sixties, De De Lind is one of the most acclaimed Italian
progressive rock artists of the seventies, and like so many others at the time, they created a singular album
before disappearing and never coming back. Not even a reunion or a released archive recording, nothing.
They have also become known for their one and only album having one of the longest album names ever
known, with that title being Io Non So Da Dove Vengo E Non So Dove Mai Andr]]>��Han Dato, and it roughly translates to I Don't Know Where I Come From And I Don't Know Where I'll Ever
Go, Man Is The Name They Gave Me. Moving on to the music, it's an interesting blend of heavy symphonic
prog with minimal influences of jazz and folk, so it isn't one of the most original sounds in the Rock
Progressivo Italiano sub-genre. When looking at the personnel, it includes Vito Paradiso on vocals and
acoustic guitar, Matteo Vitolli on the other guitars and flute (among other various instruments), Gilberto
Trama on woodwinds and brass instruments along with keyboards, Eddy Lorigiola on bass, and Ricky
Rebajoli on drums.

There are only seven tracks that make up the record, most of which are around five to seven minutes, but
some can get as short as two minutes. Most of the music switches between pastoral and calming folk music
and heavy and psychedelic progressive rock, all wrapped in the excellent talent of the members and how
they play their respective instruments. One of my main problems, as with most Rock Progressivo Italiano
bands of this period, is the lackluster production. Yes, I understand that some of these guys probably
weren't in the best financial position, so that could explain it, but that was just a note I wanted to quickly
add. My two favorite tracks were Fuga E Morte and Paura Del Niente for their complex and constantly
moving structures combined with some great soloing and deep emotion in the tracks. I also really liked the
flute solo on the second one of these songs and how it sort of continues into the fourth and longest track,
Smarrimento. Overall, all the tracks here are great, and while they do blend in when it comes to what's in
their musical core, each of them is still fantastic.

In conclusion, De De Lind could've accomplished a lot more if they had stayed together and released a few
more records in that same Rock Progressivo Italiano realm. They definitely had the talent both
instrumentally and musically, but unfortunately, as of June 30th, 2025 (the time of writing this review), no
such album has come out. This one is probably a strong 4/5.

GENESIS The Shrine Auditorium Volume Two (Symphonic Prog, 2025)

Tue, 5 May 2026 19:53:20 EST

Review by countrygnome_ — (For an introduction, details on the first half, and additional information, see my review on side 1 of the album "The
Lamb Lies Down on Broadway Live at the Shrine auditorium 1/24/75")

"Lilywhite Lilith" has always been one of the worst tracks on this album, both as a stand-alone song and taken in the
context of the story. Barely any difference between this and the studio. In my opinion, a horrible way to start the
second half of a double concept album.

"The Waiting Room." If I had to pick one song that was the most improved upon, it is this one all the way. I had always
tolerated the psychedelic, multidirectional nature of this song. This, however, is utterly fantastic. Brilliant job with this
one, and I have neither specific nor descriptive notes for this song, as it is still psychedelic and multidirectional in a
way that is un-deductible.

"Anyway" is taken a little slower, as it should; this pace fits the concept of the song nicely and gives it space to
assimilate. Nothing much else to say, other than I cannot help but flinch when Tony misses the entrance to the bridge
by what seems to be a 16th note and that Steve's guitar lacks the 3rd harmonies, but that would be impossible to
replicate live regardless.

"Here Comes the Supernatural Anesthetist" is of similar caliber to "Hairless Heart." It is a playful track as always but
also delivers a critical moment in the story: Death's failure to claim Rael. The mood of this song has always confused
me. Why would it be so contradictory to the theme? Many an interesting question are, alas, left unanswered about this
album, hence the space for one's own interpretation.

"The Lamia," being another highlight, is another track which retains similarity to the studio track. I do, however,
inexplicably hear Hackett more in this live version, or at least, I am more aware of his playing.

"Silent Sorrow in Empty Boats" is another replica of the studio, as it is a filler instrumental. Despite its seemingly
unbeneficial presence on this record, I do strongly believe that it serves a purpose. It is slow-moving, ergo it allows the
many previous songs to sink in and also presents a moment for Rael to absorb his experiences with the lamia.

"The Colony of Slippermen" is another favorite of mine. Each time that I have listened to this song live, I cannot help
but think of Gabriel in his slipperman costume! Nevertheless, this song is masterfully played. 8:50 of pure greatness.

"Ravine" demonstrates Hackett's proficiency in perfecting his touch and tone on guitar.

"The Light Dies Down on Broadway" is the best example of how the band rushed to get this album done. The
songwriting, story, and execution here is simply lazy, though they manage to give it a nice tone live.

"Riding the Scree" is a mostly instrumental energetic piece played in none other than 9/8. Very well done
instrumentally. Gabriel loses the time when he has his vocal part and falls behind the band, though he manages to
recover it.

"In the Rapids/It" once again demonstrates the Genesis's versatility. Whether it is short folk inspired tracks (songs such
as "Harlequin," "Dusk," parts of "Stagnation," and "For Absent Friends"), energetic rock pieces ("Down and Out,"
"Eleventh Earl of Mar," "Dance on a Volcano," "The Knife," and "Return of the Giant Hogweed"), or even comedy ("Get
'Em Out By Friday," "The Battle of Epping Forest," "Harold the Barrel"), Genesis can find a way to do it. Many people say
that "It" is an insufficient end to this masterpiece or that "In the Rapids" as a standalone is inadequate, and I can
envision that. For me personally, "In the Rapids/It" is the ideal closer for any concept album. "It" may lack direction,
sure, but that is the intention. To let you interpret the ending how you yourself would is what is so special about it!
You can also observe this from Pink Floyd's "The Wall," where the closer, "The Trial/Outside the Wall," is purposely
inconspicuous, leaving the listener to decide on their own. Or how about the ending of "A Plague of Lighthouse
Keepers" by the brilliant Van der Graaf Generator, where the same thing occurs? When you listen to music, you are
also a part of it, as you think and apply your own individual experiences and emotions to the music that you hear. That
can lead to new emotions and experiences within the music, which you can subliminally or consciously apply and
make connections to other things. This is why I think that highly interpretive songs like "Tarkus," "Thick as a Brick," and
"Heart of the Sunrise" are so crucial. Often times, the artist attempts to make everything too direct, which can still be
good in moderation, but can compromise the brain's activity if used excessively.

Genesis did continue with two more songs in the show, which were "Watcher of the Skies" and "The Musical Box." My
main focus for this review is, of course, TLLDOB, so I will omit my thoughts on these two songs.

Despite The Lamb's numerous mistakes, those mistakes define the album just as much as the highlights, and said
mistakes are relatively minute. A piece cannot be completely infallible, as that would leave it without natural human
error, and human "error" makes music what music is. I stand by that the Lamb is a brilliant record, and that most of
this live adaptation is incredible. Highly, highly, highly recommend listening; it is essential and a masterpiece of
progressive rock music!

TRIANGLE Square The Circle (Neo-Prog, 2000)

Tue, 5 May 2026 19:52:58 EST

Review by siLLy puPPy — A popular band name that has been used countless times throughout the decades but not one of those
acts have exactly been popular. Here's yet another. This band named TRIANGLE is from Rotterdam in
the Netherlands although the band originally formed under the moniker SQUARE THE CIRCLE in 1993
before changing its name in 2000. As you can see once the this quartet of Martijn Paasschens
(vocals/keyboards), Roland ven der Stoep (guitars), Jan-Willem Verkerk (bass), and Paul van der
Zwaal (drums) finally got to releasing its debut, the band name became the album title and the rest
is history. Still active in the modern day these core members have remained staunchly faithful to
their trade and have worked together ever since, an amazing feat in the modern age of disposable
band members.

Modeled after the English neo-prog bands such as IQ, Arena, Pendragon and Fish-era Marillion,
TRIANGLE also added a touch of Canadian band Rush to the mix with its crafty time signature changes
and harder rock heft. SQUARE THE CIRCLE hit the scene in the year 2000 just when the progressive
rock revival was hitting full steam which may explain why this excellent debut release has remained
somewhat of an unknown entry in the neo-prog scene. The album features seven tracks with four of
them extending past the 10-minute playing time and features all those exquisite neo-prog attributes
of thick synthesized atmospheres reminiscent of the best known neo-prog acts along with the expected
guitar sweeps out of the Steve Rothery and Steve Hackett playbooks.

While not the most original style of neo-prog out there which may explain many not latching onto
this, one thing is for sure and that is that TRIANGLE were masters of crafting a beautifully
designed slightly darker version of the classic prog revival sound with eerier than usual
synthesizer effects and a touch of a downer vibe in the vocal department. Like most excellent neo-
prog albums, SQUARE THE CIRCLE is chock full of instantly lovable melodic constructs drenched in
synthesized excess and pulling the expected punches of tension building and climactic crescendoes.
What appeals to me most is that much neo-prog is more like extended arena rock music rather than the
angular type of progressive rock but TRIANGLE isn't afraid to dabble in shades of knotty time
signatures and polyrhythms although the songwriting structures are very traditional in approach.

While upon first listen TRIANGLE may not sound overly original in style but the band is actually a
bit more adventurous than many contemporary neo-prog bands of the era with the exception of perhaps
some of the Polish bands like Abraxas. SQUARE THE CIRCLE features the expected neo-prog shtick while
dressing it up with more moments of contrast with the usual softer ballad runs along with more heavy
rock however it's not just a build up from one to the other at all. Often the dynamics shift without
notice and all done in a respectful organic way that adds a sense of excitement to it all. I was not
expecting to really like this debut album by TRIANGLE but upon further review it's a nice surprise
that it's done so meticulously well and graced by a stunningly gorgeous production and mixing job.
Every musician really stands out in a good way as the bass lines are tastefully integrated and
although vocalist Martijn Paaschens may not have the most operatic vocal style, he certainly has a
charisma all his own.

GENESIS The Shrine Auditorium Volume One (Symphonic Prog, 2025)

Tue, 5 May 2026 19:51:19 EST

Review by countrygnome_ — The lamb is heavily disputed among Genesis fans. It remains a story of grandeur, despite having some complications.
Some love it, some hate it, some consider it to be mediocre, and many embrace other alternative interpretations, as
comes with many substantial pieces of art or music. Personally, it is an album that I hold incredibly dear, as it not only
utilizes unique musical elements and instrumentation, but also portrays many themes that I (along with others many)
can relate to. While, undoubtedly, mishaps, mistakes, uncontrollable variables, unalterable concepts, and plot spaces
inhabit some of this record (especially side two, as many are already made aware of), the atmosphere, the effect, and
the room for interpretation on The Lamb Lies Down on Broadway is astounding.

To summarize the story of "The Lamb Lies Down on Broadway," our main character named Rael begins to experience
a loss of self when becoming aware of the rat race, heavy machinery, industrialization, and the inhuman society
around him in the steamy streets of New York City. He awakes to find himself underground and after analyzing many
of his memories of his time in a street gang and his first sexual encounter. He comes face to face with many
mythological and symbolic creatures on his ultimate journey of self-discovery.

The preface of this review observably acknowledges the studio album and the album entirely, albeit it seems foolish to
attempt reviewing this wonderful live record without first diverting attention to the source. Now, onto the actual topic:
TLLDOB (Live at the Shrine Auditorium 1/24/1975) [side one].

Something that surprised me when I listened initially to this was how intact yet variable it was. Going back to the
studio album, you would assume that due to the precise storyline and the unwavering musical precision, there would
cease to be fluctuation in a live album due to how planned and timely everything is essentially required to be for a
musically sophisticated concept album, ultimately rendering a live adaptation uninteresting. But nay, for somehow the
collective mastermind that is Genesis managed to implement new, interesting elements for an album that was already
millennia ahead of its time. Additionally, something that, when compared, the live album handles better than the
studio version is that the studio is so invariable and sonically stainless that it almost loses the gritty emotion that
embeds the music, words, and story into you. The live version excels at this.

Not unusually, Peter opens the masterpiece with his short monologue/summarization of the story, characters, etc.
This marks the beginning of the title track.

"The Lamb Lies Down on Broadway" is nothing too unordinary. Bank's legendary keyboard sound opens the song,
Gabriel's raspy but airy vocals fill the stadium, Collins' drumming is perfectly sophisticated, and his backing vocals fit
well, Rutherford's bass gives the song a groove, and Hackett's guitar playing blends perfectly with the wonderful
sounds of this song.

"Fly on a Windshield/Broadway Melody of 1974" is the start of a recurring occurrence in this live adaptation. Peter
tends to drift away from the band a little, commonly by holding notes out too late or missing the onbeat, making him
fall behind the band, likely due to the unambiguous barrier between Gabriel and the rest of the band in that period. It
is not at all something that compromises much quality or enjoyability on the record, only something to be wary of.

"Cuckoo Cocoon" displays Gabriel's versatility, as he can recreate a sort of yearning yet simultaneously carefree feeling
that the song flourishes with. It may not be a highlight, however, is a very consistent track, which is much needed
amidst the sheer amount of spontaneity on the album (although the majority of said spontaneity is good).

"In the Cage" is, in my opinion, the best song on this album. The way that they were able to not only recreate the track
live but expand upon it on every level is unmatched! Everyone shines on this song. Gabriel accommodates his finite
vocal range with lower improvised notes that suit the song even better, Phil does what the original version intended to
do by progressively quickening the song (and his drumming is incredible as always), Banks is Banks, Hackett's
overdrive guitar mixes unbelievably well with the music and concept of the song, Rutherford is Rutherford, and the
fadeout into the finishing riff and then the next song is absolute perfection.

"The Grand Parade of Lifeless Packaging" is one of the only songs on here that I prefer the studio version to. Not much
else to say, other than the whole song lacks a certain bite that defines it.

Gabriel again summarizes the next half of side 1.

"Back in N.Y.C." was, is, and will always be one of my favorite Genesis songs. I admit that I do prefer the studio track
more because of the several horrible voice cracks that Gabriel has, the number of times that the band experiences
instability and short bursts of incoordination, and the fragile sound of the entire thing.

"Hairless Heart" is as it always is. A 2.5-minute instrumental that transitions into Counting Out Time.

"Counting Out Time" is another consistent track that is done better than the studio. The more aggressive sound during
the chorus was unexpected, but I found myself enjoying it. Looking at the score for this piece, it now completely
makes sense that they make the 5/8 time signature pack more of a punch accompanied with the noticeably quirky rest
of the song. Gives something cooler and denser for the listener to hold onto! I guarantee you that people would have
gotten bored had they made these alternating 4/4 and 5/8 sections the same intensity. Good move, Genesis!

"The Carpet Crawlers" begins with how I always thought it should go. Thankfully, they give Tony a few more measures
before the vocals, which lets the song breathe a little. It is here where, as mentioned in the first few paragraphs, there
is more variety, more life, more opening, more technical imperfections that are emotionally resonant. This is not to
say that the studio's "Carpet Crawlers" wasn't authentic; this is only to praise the live version for the additional
something that they put into it. This song is a perfect example of how diction cannot articulate and/or convey
everything that is, and it's likely best to keep it that way. Each person's interpretation is their own, and these are only
my thoughts. Highly recommend listening to this!

"Chamber of 32 Doors" is a beautiful song, both in the studio and live. It evokes an immense amount of emotion
regardless of the setting, but the live presence of the band emphasizes and amplifies the many confused feelings of
the song in a way that I cannot quite explain. So many words to say, but too little room to do so.

Gabriel finishes side one by once again previewing side 2.

(To continue reading, see my review on side 2 of "The Lamb Lies Down on Broadway Live at the Shrine auditorium
1/24/75")

ABSENTHIA Novecento (Atto primo) (Rock Progressivo Italiano, 2016)

Tue, 5 May 2026 19:50:00 EST

Review by Finnforest — Stately, Heavy, Dramatic

Absenthia are a third wave RPI band from Vicenza who began in 2005 and were still active on social
media as of 2018. Time will tell if further releases are forthcoming. After their well-received 2009
debut "Tenebrae Vincunt"---five stars from my old friends Andrea and Chris!---they returned in 2016 with
"Novecento Atto Primo," which some places refer to as an album while others as an EP. To me, it's
their second album, just a short one as is very common in the history of Italian progressive rock.

The second album pretty much picks up where their debut left off and with essentially the same line-up although they have dropped from two guitarists to one. Their sound, which was somewhat unique
when they started, has now been replicated by many. The historical tenets of symphonic prog rock
were updated and supercharged with heavier guitars and more guitar presence, in somewhat of a break
from the second wave which could often be mellower and keyboard led. Bands were now taking their
guitar presence closer to the popular prog-metal sound. Although this is not fully prog metal in my
book, there is certainly full-on flirtation in many places. They often employ metal-tinged guitar
riffs and large, flanged, ringing chords not unlike bands like VIII Strada and S91. Bau's keyboard
work is modern sounding with cool samples of orchestral flair, clean piano, and even electronica to
contrast the dominating sound of the guitar.

Speaking of pushing back on the guitar dominance, this album is built around the stunningly good
Italian language vocals of Igor D'Aoconte, who is the most potent weapon in the Absenthia arsenal,
though every musician here is playing absolutely top notch. D'Aoconte brings a deep voice with a
very commanding and formal-sounding delivery. The dude could easily be employed in a world class
opera. He can turn on a dime from a soft, clean, vulnerable voice to a huge, majestic roar and even
occasionally spit a bit of metalish growl. In only 33 minutes, we are taken on a ride that covers
plenty of ground. There is a lot of depth and songwriting variety, even pulling in some classical
and folkish bits, much drama, and even some playfulness. Most important, the feel of the tracks
connect with me emotionally. Despite the language barrier, I can feel this.

Once again, it proves to me how short albums are wonderful; rarely do we need these 70-minute
behemoths. Sometimes warranted, sure, but too often feeling more like obligation in prog these days.
If you were one of the many who loved their debut, this is a slam dunk that you will dig this one
too. The CD comes with an extra bonus track that is not on the digital versions.

RIFFSTONE Mythical Creatures (Symphonic Prog, 2026)

Tue, 5 May 2026 16:16:42 EST

Review by luisanchez19 — Mythical Creatures is Riffstone's third album in two years, and it is their most ambitious and fully realised work to
date. The duo of Dave Allen and Colin Powell have constructed a ten-track concept album of just over eighty
minutes, in which each piece is dedicated to a specific mythological creature ? Griffin, Dragon, Phoenix, Hydra,
Basilisk, Manticore, Selkies, Chimera, Leviathan and Unicorn ? treated not merely as folkloric subject matter but as
psychological archetypes, mirrors of ambition, fragmentation, conflict and eventual integration.

The music is dense, melodic and consistently inventive throughout its considerable runtime. Mellotron is the
dominant keyboard voice, present across the album in waves that give the music its characteristic warmth and
weight, alongside synthesizers, organ and piano. The bass playing is a particular strength, carrying both harmonic
and rhythmic authority in a manner that recalls the more assertive end of the classic prog tradition. Programmed
drums serve the music well despite their synthetic nature, with the arrangements structured to minimise any
mechanical quality.

Individual tracks reward close attention. "The Phoenix" builds from acoustic guitar and keyboards into a piece of
considerable emotional power, with guitar work that touches on early King Crimson territory. "The Manticore" is the
album's longest and most structurally diverse piece, blending folk textures, flute-like keyboards and medieval
atmosphere with more forceful progressive passages. "The Selkies" brings a Celtic edge and strong melodic
momentum, while the closing "The Unicorn" resolves the album in a warmly Beatles-inflected finale that provides
genuine emotional release after the weight of what preceded it.

THE SOFT MACHINE The Soft Machine (Canterbury Scene, 1968)

Tue, 5 May 2026 13:09:28 EST

Review by Fercandio46 — If we talk about trios in the sixties, this one stands out especially, not only because it was an unusual formation of
bass, drums and organ, unlike others such as Cream, the Jimi Hendrix Experience, but also because they changed
the musical metrics and rhythms, reversing times and formats, achieving one of the foundation stones of what
would become the Canterbury scene. A trio by accident, since its other founding member, Daevid Allen, was unable
to return due to a bureaucratic issue in Paris (and that's how he founded Gong there), this genesis so linked to
chance and destiny, so chaotic, would make the debut a surreal work, where what was offered exceeded the
musical.

Hope For Happiness begins with vocals taking center stage. It's not until well into the song that Kevin Ayers' deep
bass and organ join the repeating mantra, and one of the first laws of Canterbury seems to be written in the air:
there's no guitar, only the organ, which takes the lead and attacks from all sides, bass, drums, and vocals,
sometimes like jazzy scat singing, other times like a somewhat distorted chorus that underlines everything with a
fluorescent marker. Each track flows seamlessly into the next, without respite, like a waterfall cascading over the
listener and settling on the floor like a carpet inviting you to fly if you step onto it. That's the Canterbury scene: an
experience that transcends the merely musical.
However experimental they sounded, there was a pop freshness, with bossa nova that adorned their kind of
psychedelia in a different way; perhaps the presence of Kevin Ayres had a great influence, but their jams with the
organ sounded different from Egg, or Caravan, bands that were companions in the movement and with stylistic
concerns that were initially similar.

So Boot If At All is much wilder and here the organ completely dominates, with Mike Ratledge at the helm (by that
time a graduate in psychology and philosophy from University College of Oxford) followed by Robert Wyatt on
drums who was so versatile that he could be everywhere (like an enlightened Keith Moon) and also doing the more
subtle percussion, while Kevin Ayers improvised on the piano.

A Certain Kind did have some more traditional, classical organ elements, which Wyatt's voice ultimately made
unique. Meanwhile, tracks like Save Yourself were his own take on rock, with keyboard intros reminiscent of those
Brian Eno would use a few years later in Roxy Music, altering the senses...surprising with the unexpected.
For Lullabye Letter the gears are running smoothly and sounding well-oiled like a perfect machine, fast, the bass,
the organ and the drums were one...following them was a task that was both artistic and demanding in terms of
concentration, which awakened other senses along the way, that was the experience that happened with each
listen.

We Did It Again would become a classic and would always be performed live by Kevin Ayers in his solo career, and
Plus Belle Qu'une Poubelle with its sinuous cadence gives way to another highlight of the album, Why Are We
Sleeping?, sung by Kevin, almost recited, which he would also take over for his repertoire in even longer versions,
and whose lyrics were also a reflection of the times, the choruses only reinforced the contained force...which
screamed for the awakening of consciousness.

No subsequent album would resemble this Soft Machine debut, just as none would resemble another, not only
because of the changes in their lineups, but also because of that sense of searching that identified the band from
its inception and that would condition it like a recurring dream.

THE PARADOX TWIN A Romance of Many Dimensions (Crossover Prog, 2026)

Tue, 5 May 2026 10:57:20 EST

Review by luisanchez19 — A Romance of Many Dimensions is the third studio album from The Paradox Twin, arriving five years after the well-
received Silence from Signals, and it finds the band at their most conceptually and musically developed. The
narrative centres on a protagonist whose only sense of purpose and identity comes from logging into a digital
world, exploring themes of loneliness, addiction, escapism and what it means to be human in an age of
technological dependency.

The core trio of Danny Sorrell on vocals, guitars and keyboards, Sarah Bayley on vocals and Graham Brown on
drums is augmented throughout by John Mitchell, who contributes bass across the album and delivers a notable
guitar solo on the closing track, in addition to co-producing and mixing the record. The two-vocalist dynamic is
central to the album's emotional range, with Sorrell and Bayley trading and combining their voices across
contrasting musical moods with considerable skill.

The eleven-minute centrepiece "My Main Function" is the album's most fully realised piece, moving through
polyrhythmic complexity, odd meter shifts and a dramatic build that showcases the band's compositional ambition
at its peak. The shorter tracks around it balance atmospheric, synth-driven passages with heavier, Porcupine Tree-
influenced rock moments, and the album flows as a coherent whole from the haunting opening "Linter" through to
the warm, guitar-driven resolution of "Nested Scratch".

MOONRISE No Rewind (Neo-Prog, 2026)

Tue, 5 May 2026 10:49:18 EST

Review by luisanchez19 — No Rewind is the latest album from Moonrise, the long-running project of Polish multi-instrumentalist Kamil
Konieczniak, who once again handles keyboards, guitars, bass, drums, production, mixing and mastering entirely by
himself. Since the band's debut in 2008, Konieczniak has built a consistent body of work within the melodic neo-
prog tradition, and this new album finds him in strong form across eight tracks and just over fifty-two minutes.

The vocal duties are shared between two singers with very different qualities. Marcin Staszek, a returning
collaborator, handles four of the tracks, while Ania Batko ? known from her work with Hipgnosis, Albion and
tRKproject ? takes the lead on three pieces including the closing "All About You", a ten-minute centrepiece that
showcases both her voice and Konieczniak's most developed compositional writing on the record. Guitarist Marcin
Kruczek contributes solos on "Friends of Blood", adding a further layer of expressive colour.

The music sits comfortably within the neo-prog tradition that Moonrise has inhabited throughout its career ?
atmospheric, melodic and carefully arranged, with influences from Marillion, IQ and Pink Floyd running through the
fabric of the compositions. The album balances quieter, more introspective passages with moments of greater
intensity, and the dual-vocalist approach gives No Rewind a wider emotional range than some of its predecessors.

PLINI An Unnameable Desire (Jazz Rock/Fusion, 2026)

Tue, 5 May 2026 10:47:42 EST

Review by luisanchez19 — An Unnameable Desire is Plini's third full-length album, and it represents his most expansive and compositionally
adventurous work to date. The Australian guitarist and composer has spent the better part of a decade building
one of the most distinctive voices in instrumental progressive music, drawing on influences that range across shred
guitar, jazz fusion, ambient music and progressive metal, and this record pushes each of those elements further
than before.

The ten tracks are remarkably varied in character. Heavier, riff-driven pieces sit alongside intimate acoustic
passages, jazz-inflected fusion writing and broadly cinematic orchestral arrangements, with transitions between
these moods handled with the compositional intelligence that has always been Plini's strongest quality. The
supporting cast is extensive and well-chosen: Dave Mackay contributes piano, keyboards and synthesizers across
the majority of the album, John Waugh adds saxophone and flutes, and A.J. Minette's string arrangements ?
performed by violinist Misha Vayman and cellist Yoshi Masuda ? give several tracks a richness and depth that
marks a genuine step forward. Emily Hopkins adds harp to the penultimate track, and Jakub Zytecki contributes a
guitar solo to the sweeping "Ciel".

Mixed by Simon Grove and mastered by Adam Nolly Getgood, the production is suitably large and clean, giving each
instrument the space it needs. The result is Plini's most complete and fully realised album, one that rewards both
casual and attentive listening in equal measure.

EINAR SOLBERG Vox Occulta (Crossover Prog, 2026)

Tue, 5 May 2026 10:46:00 EST

Review by luisanchez19 — Vox Occulta is a record built around a clear and fully realised vision: orchestral metal in which the orchestra is not
decoration but architecture. The Norwegian Radio Orchestra appears on four of the eight tracks, and its presence
shapes the entire sonic logic of the album, with the rock instruments winding through the orchestral textures rather
than standing apart from them. The result is a genuinely integrated sound, one where brass, strings and
woodwinds share the compositional weight equally with guitars, bass and drums.

The album opens with "Stella Mortua", a slow-burning piece that builds from restrained strings and delicate vocals
to a full orchestral and metallic eruption, establishing the record's central dynamic immediately. "Medulla" follows
with a darker, more groove-driven character ? knotty guitar riffs and a propulsive rhythm section beneath an
infectiously melodic chorus that stands as the album's most immediately accessible moment. The title track is the
most theatrically cinematic piece on the record, a lumbering, multi-movement affair in which the orchestra
dominates and the guitars serve as rhythmic underpinning rather than lead voice.

The album's second half is more patient and demanding. "Serenitas" strips the sound back to gentle orchestral
arpeggios and Solberg's most vulnerable vocal performance, building slowly to a bluesy guitar resolution. "Vita
Fragilis" showcases his full vocal range most explicitly, moving between whispered passages and full-throated
intensity over the album's most prominently orchestral arrangement. "Grex", at nearly twelve minutes, is the
record's centrepiece and its finest achievement: a multi-movement piece that passes through mournful chamber
music, a technically exceptional guitar solo from Pierre Danel, and a genuinely devastating climactic section in
which harsh and clean vocals collide over a seismic rhythm section.

The closing "Anima Lucis" resolves the album in quiet, almost spiritual terms, Solberg's voice floating over adagio
strings in a deliberately understated finale.

Mixed by Adam Noble and co-produced with David Castillo, the production handles the balance between orchestra
and band with considerable intelligence.

CZYSZY Electric Egg (Symphonic Prog, 2026)

Tue, 5 May 2026 10:43:39 EST

Review by luisanchez19 — Electric Egg is the latest release from Czyszy, the solo project of Polish composer and multi-instrumentalist Marek
Kr]]>�comprising the entirety of the album. Everything here ? guitars, bass, keyboards, saxophone, chiptune sounds,
programming, mixing, mastering and cover artwork ? was handled by Kr]]>�

The first piece draws on classic symphonic progressive rock as its primary reference, building layered arrangements
of considerable complexity around a compositional logic that owes something to the grand architecture of the
genre's founding works, while incorporating NES chiptune sounds and electronic textures that give the music a
distinctly personal and contemporary character. The interplay between these contrasting elements ? analogue
warmth and digital nostalgia ? is one of the album's most distinctive qualities, and Kr]]>�between them with a lightness of touch that prevents the eclecticism from feeling forced.

The second piece is the more expansive of the two, introducing a stereo Telecaster and a Minimoog clone solo as
focal points within a structure that shifts through multiple moods and textures over its duration. The compositional
density here rewards repeated listening, with details emerging on subsequent plays that are easy to miss on first
encounter.

Kr]]>�personality that suits the music's DIY spirit. Importantly, the album is proudly free of AI involvement in either its
music or artwork.

35 TAPES Veil on Life (Symphonic Prog, 2026)

Tue, 5 May 2026 10:40:21 EST

Review by luisanchez19 — Veil on Life is 35 Tapes' fourth studio album, and it marks a deliberate shift in the Norwegian band's sonic
approach. Where their previous work leaned into slow-burning atmospheric restraint, this record introduces a more
assertive, riff-driven character while preserving the analogue warmth and careful production that have always
defined their sound. Recorded at Frydenlund Studio in Oslo, the album benefits from wide dynamic range, a bold
low end and immersive stereo imaging, all achieved through vintage hardware rather than digital shortcuts.

The six tracks are thematically unified around memory, identity and time, and the songwriting is tighter and more
hook-oriented than before, with cinematic passages emerging from within structures that feel genuinely purposeful
rather than exploratory for its own sake. The instrumental palette remains rooted in Mellotron, Therevox and
vintage synthesizers, but energetic electric guitars and shimmering twelve-string acoustics now carry considerably
more weight, giving the album a physicality that earlier releases lacked.

Individual tracks reward close attention. "Hallway" opens with meditative distance that gradually draws the listener
in, while "Waters" moves through a slow metamorphosis of mood and texture. "Bris]]>��piece, holding its emotional content with quiet precision. "Clueless" introduces a restless, yearning quality, and the
closing "Cities" gazes outward with a melancholy that lingers. The vocals throughout are warm and searching,
complementing the music's emotional register without overpowering it.

JOHN MCLAUGHLIN Johnny McLaughlin - Electric Guitarist (Jazz Rock/Fusion, 1978)

Tue, 5 May 2026 10:37:54 EST

Review by BrufordFreak — An album of orphans that were recorded at various times and in various places throughout 1978 using almost a
completely different lineup of musicians for each and every song. The album was produced by John McLaughlin in
association with Dennis McKay. Sessions took place in early 1978, with specific dates ranging from January 16 to
February 2, 1978, at Sound Mixer Studios in New York and Devonshire Studios in Hollywood. The album was released
by Columbia Records on September 18, 1978.

Line-up / Musicians:
- John McLaughlin / electric guitar
With:
- Billy Cobham / drums (1 & 6)
- Stu Goldberg / electric piano, organ and mini-moog synthesizer (1)
- Jerry Goodman / violin (1)
- Fernando Saunders / bass (1)
- Neil Jason / bass (2)
- Tom Coster / organ (2)
- Alyrio Lima / percussion (2)
- Armando Peraza / congas (2)
- Carlos Santana / electric guitar (2)
- Michael Walden / drums (2)
- Alphonso Johnson / Taurus Bass Pedals and bass (3)
- Patrice Rushen / piano (3)
- David Sanborn / alto saxophone (3)
- Tony Smith / drums (3)
- Stanley Clark / acoustic bass (4)
- Chick Corea / piano and mini-moog (4)
- Jack DeJohnette / drums (4)
- Jack Bruce / bass (5)
- Tony Williams / drums (5)

1. "New York on My Mind" (5:45) with Billy Cobham and Jerry Goodman we have a bit of a mini-reunion of the First
Incarnation of the Mahavishnu Orchestra. Stu Golberg is a perfect replacement for Jan Hammer while Fernando
Saunders delivers a much more melodic and approach to the bass--which is actually quite nice. The song--and
"Johnny"'s performance are way more blues-oriented than I've heard from the Mahavishnu for a long time. Though
more subdued, it is nice to hear that heavy Mahavishnu Orchestra sound again. (9.125/10)

2. "Friendship" (7:00) sounds half like a lost movement from FOCUS' "Hamburger Concerto" and half like a Latin
carnival jam--which is probably due to the reunion of John with latest Santana lineup as well as Second Incarnation
Mahavishnu drummer Narada Michael Walden. Though the jam feels very loose and unscripted (and the musicians
seem far less inspired or "on" than they did on the 1973 Love Devotion Surrender collaboration), it is a nice sound
palette to hear. (13.25/15)

3. "Every Tear from Every Eye" (6:50) gentle and spacious opening turns jazzy at 0:25 with the progression into a totally
different and unexpected key/chord. I thought we were going to hear some Smooth Jazz and instead we're hearing
serious blues jazz. Though everybody alongside John performs adequately, nobody rises to the fiery heights of Fusion
the way John does: though their movements are sophisticated, Patrice Rushen, Alphonso Johnson, David Sanborn, and
Tony Smith just kind of lull us to sleep with their gentle sounds and low volume--not unlike a Weather Report
production. Patrice and Alphonso's solos are all nice, even impressive, just not so dynamic as those of the sax and
electric guitar. (13.25/15)

4. "Do You Hear the Voices that You Left Behind ?" (7:39) the plaintive guitar sounds being plucked by John on this
sleeper sound like he's trying to be JEFF BECK. Stanley Clarke, Chick Corea, and Jack De Johnette are impressive and a
perfect match for the changing tempos that the song takes us through over the course of its nearly-eight minutes
though I wish A) the tone of Stanley's bass would pop a little more, B) Chick's electric piano tone had a little more bite
and volume to it, and Jack were also hitting his targets with a little more force (and, therefore, volume). This could have
been an awesome RTF-like Power Fusion song had everybody just been a little louder. Stanley's double bass solo is
quite impressive, as is John's Al Di Meola-like electric guitar solo, and then when Chick switches to Mini-Moog you
finally have the dynamic snap that the song (and band lineup) seems to be promising. Jack is great but he feels kind of
stuck in the acoustic Jazz world despite his band mates transition into more electronic expressions. (13.5/15)

5. "Are You the One ? Are You the One ?" (4:41) The Trio of Doom! (only with Jack Bruce in place of Jaco Pastorius). I
love it from the very start due to the attention-commanding drumming (and perfect sound capture) of Tony Williams.
Hearing John use a wah-wah pedal and talk box is something very special--and he's very good at it. The "chorus"
sounds very much like a Weather Report riff/song--as does a lot of Jack's solo--while the vocal banter of the trio gives
the impression that the band members are really having a fun time. However you look at this one, it is entertaining,
fun, and quite impressive. Quite probably my favorite song on the album--certainly the most memorable. (9.375/10)

6. "Phenomenon: Compulsion" (3:21) just John and Billy Cobham (shades of 1971 when the two would jam with each
other in the down times between takes on Miles Davis studio sessions and live concerts). The two really do have a neat
relationship--an "interesting conversation," if you will. John, especially, really tears it up. I especially love the third
minute when John starts doing chords like Pete Townsend and strings shredding like Adrian Belew. (8.875/10)

7. "My Foolish Heart" (3:22) a nice "old-fashioned" (despite the chorused use of heavy-reverb) solo guitar rendering of
the great Victor Young and Ned Washington jazz standard from the classic 1949 film of the same name. Preview of
John's amazing 1991 tribute to Bill Evans. Fine guitar playing--really using space well and never rushing anything; I just
don't like the guitar tone John selected here. (8.875/10)

Total Time 37:18

Though the music is nice--even kind of crossing over into the Smooth Jazz engineering sounds--this is not my favorite
tone/sound Johnny Mac has ever chosen for his electric guitar (and it's a sound that remains fairly constant
throughout the course of the album). At the same time, I really do enjoy how each song perfectly represents a phase
of John's 1970s career: Mahavishnu, Santana, Power Fusion, sound, style and technology experimentalist, as well as
respectful lover of the old classics/standards.

B+/4.5 stars; a near-masterpiece of eclectic iterations of John McLaughlin bands and styles--which makes it feel kind of
like a "Greatest Hits" album. Definitely a fun and interesting listen.

PHILIPPE BESOMBES Besombes-Rizet: P�le (Progressive Electronic, 1975)

Tue, 5 May 2026 07:42:17 EST

Review by siLLy puPPy — The P]]>�those cult album treasure troves that yielded some of the best progressive electronic sounds that
emerged from France. The P]]>�which made the lineup of the artists presented a bit murky. Not only was there a P]]>�two albums released under an artist named P]]>�1975 was an album titled P]]>�pioneering composer, multi-instrumentalist and prominent figure in the 70s electronic underground.
Starting off as a traditional chemist his attention was diverted after being exposed to modern
classical composers like Stockhausen and Xenakis and set forth to create similarly styled music in
the context of more modern electronic sounds.

JEAN-LOUIS RIZET on the other hand was a French sound engineer, producer and also a multi-
instrumentalist and a key figure in the P]]>�canon. Together these two collaborated for a single double album's worth of material that featured
six tracks that added up to nearly 75 minutes of psychedelic progressive electronic sounds that
blended the stylistic approaches laid down by Klaus Schulze, Tangerine Dream and Cluster with traces
of German Krautrock, progressive rock and jazz. The album is chock filled with an arsenal of
synthesizers and keyboards that included VCS 3 AKS, ARP 2600, Mellotron 400, Hammond organ, and
Fender Rhodes but unlike the two P]]>�rock textures and heavy percussion. Also featured are sounds performed by RIZET including the flute,
trumpet and guitar amongst others.

While directly akin to the German scene, these two seasoned performers deliver it all through the
lens that only the French culture could deliver making it somewhat comparable to fellow countryman
Richard PInhas and his act Heldon.The album runs the gamut from the sputtering opener "Haute
Pression" which features more rhythmic textures to the space synth otherworldliness of "Evelyse" and
"Armature Double." Generally on the more melodic side, the album loses none of the surrealistic
trippy excursions of the koschmische style of neighboring Germany yet retains many of the
sensibilities of the world of modern classical inspirations that punctuate the composing style. As a
chemist, BESOMBES applies his studious approach to sonic alchemy where a laboratory of sounds
coalesce into something completely unique and innovative. After two sleepy numbers, "Lundi Matin"
picks up steam with a robust tempo and trippy layered synth sequences.

The sprawling behemoth "Synthi Soit-il" is the longest track at almost 22 minutes and likewise
features some of the most diverse and satisfying soundscapes. Slowly oozing from the depths of
imperception, the track slinks around like stardust while synthesizers and erupting percussion
slowly coalesce into the mix and throughout the track's run offer some of the wildest experimental
outbursts to emerge before slowly cooling off from the eruption. While almost exclusively
instrumental, the album ends with some of the only vocals to be heard although muffled and set in
the backdrop beneath playful electronica and soft acoustic guitar strumming. Overall it's a highly
exciting journey into exquisite electronic psychedelia that remains firmly controlled but let off
the leash from time to time to engage in true cosmonaut space exploration. Long out of print until
the early 2000s, P]]>�and this one is definitely one of the best of the French scene. Bogged down only by a lot of slow
churning sleepiness in the middle, the album is a vital release in the 70s French underground.

PENDRAGON Masquerade 20 (Neo-Prog, 2017)

Tue, 5 May 2026 07:01:27 EST

Review by ZowieZiggy — I rated the original ''Masquerade'' with 5*****.

This commemorative live album taking over the entirety of this excellent album; I couldn't be deceieved with this live set.
Filmed in Poland where they always have been acclaimed. one can see how happy the band is happy to be there in front
of a p[acked theatre.
But was it really necessary to mention that they love Poland so much that they would like to stay there, Except that they
had to leave Poland for their next gig. Which had to take place in ...Belgium.

The faithfull rendition of ''The Masquerade'' is wonderful moment of music. So 5***** for this part.
Then the ''new'' numbers of which I was not really found of. But to prove me wrong, the closing number ''Indigo'' is really
excellent. clocking at around 15 minutes. Which makes this very long concert a very good moment.

I still remember their gig at the ''Spirit of 66''. In 2006. It is my turn to salute this 20th anniversary.

Four stars.

BEARDFISH Sleeping in Traffic - Part Two (Eclectic Prog, 2008)

Tue, 5 May 2026 03:52:03 EST

Review by Lolion — I discovered Sleeping in Traffic Part 2 by Beardfish*around 2011?2012, and it immediately left a strong impression
on me. It's one of those albums that feels playful and unpredictable, yet surprisingly emotional at the same time.
The band mixes quirky passages with more reflective moments, creating a really unique vibe that keeps things fresh
from start to finish.

What I love most is how natural it all feels. The transitions, the melodies, even the oddball sections just flow without
feeling forced. There's a charm to it that makes it easy to come back to, even years later. It's progressive rock without
being overly serious?creative, warm, and full of personality. For me, it's a really special album that captures that
sense of discovery I still remember from back then.

SIGILU Beta (Psychedelic/Space Rock, 2025)

Tue, 5 May 2026 03:39:39 EST

Review by Lolion — I recently stumbled upon this Spanish gem, and it truly feels like discovering a hidden treasure within the rock
landscape. While it's often labeled as progressive rock, that description doesn't quite capture its essence. It leans
closer to the approach of Steven Wilson?less concerned with technical exhibitionism and more focused on
atmosphere, mood, and emotional resonance.

What stands out immediately is its sense of restraint. Instead of the constant push-and-pull of virtuosity that can
sometimes overwhelm progressive rock, this music breathes. It allows space for melodies to unfold naturally, for
textures to settle, and for songs to exist as cohesive, meaningful pieces rather than showcases of complexity.

Although the lyrics are partly lost on me, my Italian roots offer glimpses into their meaning, adding an extra layer of
intrigue. Even without full comprehension, the emotional delivery carries enough weight to transcend the language
barrier.

In a genre that can occasionally feel crowded with excess, this is a refreshing reminder that progressive music
doesn't need to be dense or overly intricate to be powerful. Sometimes, it's the atmosphere, the subtlety, and the
sincerity that leave the deepest impression.

GODSPEED YOU! BLACK EMPEROR Lift Your Skinny Fists Like Antennas to Heaven (Post Rock/Math rock, 2000)

Tue, 5 May 2026 03:36:12 EST

Review by Lolion — Discovered around 2010, *Lift Your Skinny Fists Like Antennas to Heaven* by Godspeed You! Black Emperor stands
as a monumental achievement in modern music?an unparalleled masterpiece that continues to defy convention
and expectation.

This double album transcends the traditional boundaries of composition, unfolding across four expansive
movements that feel less like songs and more like vast, evolving soundscapes. Each piece builds patiently, layering
delicate instrumentation with field recordings, distant voices, and haunting drones, until it reaches overwhelming
crescendos that feel almost apocalyptic in scope.

What makes the album truly remarkable is its emotional and narrative power without relying on lyrics. It
communicates a profound sense of desolation, hope, and fragile beauty purely through sound. The listener is not
merely hearing the music but inhabiting it?drawn into a cinematic world where every swell of strings and every
crackle of static carries meaning.

Even years after its release, few works have matched its ambition or impact. It is not just an album to listen to, but
an experience to surrender to?one that rewards patience and immersion with something genuinely transcendent.

OSANNA Osanna and David Jackson: Prog Family (Rock Progressivo Italiano, 2009)

Mon, 4 May 2026 11:35:38 EST

Review by Fercandio46 — After touring together in 2008, David Jackson participated in this Osanna album, where they recreated songs from
their 70s repertoire, plus some tracks from van der Graaf Generator. Lino Vairetti on vocals, Nello D'Anna on bass,
and Gennaro Barba on drums are among the founding members, along with surprises like David Cross on violin. The
versions are very different and contribute to the band's sound, such as a shorter rendition of "Animale Senza
Respiro," which nevertheless emphasizes this new incarnation, sounding fresh, jazzy, and equally progressive.
Mirror Train, on the other hand, is a longer version, with a more extensive and richer jam session than the original,
taking advantage of Jackson's dual role as a saxophonist and flautist.

L'uomo already brings differences with it, a part after the acoustic more of hard rock and even rap in the style of Red
Hot Chili Peppers that suits the energetic rock and the Italian language well...so much so that it seems that it has
always been like this.

The free jazz fragments of Il Castello Dell'Es suited Jackson's style well, where the saxophone seems to be linked to
rock as in King Crimson's debut, yet it sounds current at the same time, partly thanks to Fabrizio Fedele's sound.
The choice of themes from Milano Calibro 9 and L'Uomo flows so naturally that it sounds like the original. In Un
Vecchio Cieco, Cross's violin benefits so much... and I would even say that this faster version gives it more feeling.
Without competing with the original classics, distancing itself is the raison d']]>�reinterpretation.

Theme One, that theme that was left out and would later see the light as a bonus track from the Pawn Hearts era, in
1971 for Van der Graaf generator, is brought here to our time respecting the spirit and central skeleton, but with small
variations that contribute, deviations that give it strength and underline its characteristics of a cry to the sky, of jazzy
saxophone that then mutates into a martial flute and finally an Italian anthem...completing a cycle that was always
natural to it.

Osanna does not disappoint, and There Will Be Time is an atypical gem to end with Sas]]>�that reputation for versatility of Italian bands not only in the past, but also in the new millennium.

HOMELESS ART EntElMus (Eclectic Prog, 2023)

Mon, 4 May 2026 07:19:17 EST

Review by siLLy puPPy — Founded as far back as 2012 in the city of Athens, the Greek jam band HOMELESS ART settled on its
respective name after being inspired by a musical event that was created exclusively for the
homeless population in the Greek capital city. A quartet of virtuosos that includes Theodoros
Grigorakakis on guitar, Orestis Diamantaras on keyboards, Stergios Liuras on drums and Gavriel
Stefanidis on bass, the band released its so far one and only album "EntElMus" in 2023 in
excessively digital form. The odd album title comes from an abbreviation of the Greek phrase
"έντεχνη ελληνική μουσική" (entechni elliniki mousiki), which translates to "artful Greek music."

"EntElMus" is a lengthy sprawler of an album that features seven tracks that add up to 73 minutes
and 22 seconds. This all instrumental album is a veritable progressive jam band tribute to many of
the greats in prog history and beyond with the main influences of Frank Zappa, King Crimson, Rush
and Greek classical composer Yiannis Markapoulos cited by the band as the primary sources. The music
is quite varied but generally finds itself as a wily mix of heavier King Crimson, 70s jazz fusion,
Soft Machine styled Canterbury jazz especially in the keyboard works along with wild angularities
lifted out of the RIO / avant playbook ranging from Samla Mammas Manna and touches of Henry Cow
although the band is more on the melodic side of the equation.

The 14-minute opener "Jazzusis" starts things off quite unimpressively with a slow building sequence
that makes you think. You've set sail on a post-rock type of excursion but then somewhere a few
minutes in the full power of HOMELESS ART suddenly is left off the leash and it's apparent that this
team of musicians are quite seasoned veterans of the most complex prog playing styles. While the
bass and drums are primarily reserved for the rhythm section, the band adopts a Symphony X technique
of alternating sizzling guitar and keyboard soloing through a series of repetitive cadences before
switching over to a totally new musical motif. The band are experts at milking a jamming groove to
exhaustion and then moving on to something completely new several times before a reprise of the main
theme which leads to a satisfying conclusion.

The album excels with its creative journey approach through treacherous prog turf. While "Vertigo"
lives up to its titular subject matter with dizzying keyboard contributions, "Boomba" reminds me a
bit of some of the crazy 80s avant bands such as Switzerland's D]]>�Cardiacs. "Zapparakatranemia" pays tribute to exactly who you would expect with such a track title
but a lot heavier than anything Zappa himself cranked out with crunchy KC inspired riffing as well
as a bit of funk inserted into the fabric. The album pretty much continues its intrepid prog jubilee
through a never-ending variation of ideas that at least for my ears work quite nicely. The album is
quite brilliantly performed with plenty of stylistic shifts, dynamism, tempo changes and rich in
hairpin turns. Best of all it sounds fairly unique while still exuding somewhat of a retro appeal.
Nice stuff for lovers of instrumental prog.

SATAN Satan (Symphonic Prog, 2016)

Mon, 4 May 2026 06:48:03 EST

Review by Sean Trane — OK French Symphonic prog that had not managed to release an album in their days, but the band had been around since the or just after the May 68 unrest under a different names like Heaven Road/Gate, like many French groups of the era. Actually the only release of theirs was through a side project Ciel d'Et]]>�
The band's sonics on this archival release is closer to Pulsar (mostly) & Atoll (and eventually Triangle or Martin Circus), rather than Ange & Mona Lisa, though if the tracks are any indication, there might have been a fairly theatrical dimension on stage. Hopefully, despite their "evil" name, these guys were not too "Grand Guignol" on stage.
Catharsis and Ame Son can also be thought of as the archival release unfolds. From memory (I heard these archives a fait while ago), Pulsar's debut Pollen comes closest, though there are obvious early Floyd remenisces (the organ player mainly), especially during La Nuit Des Temps.

Enjoyable & interesting archival release, but your world won't budge an inch if you've not heard them in your life, because it's nothing I would call essential.

TRIANA Hijos Del Agobio (Symphonic Prog, 1977)

Mon, 4 May 2026 02:40:04 EST

Review by Lolion — I'm from Italy, and I still remember discovering Hijos del agobio by Triana while on vacation in Spain back in the 80s.
That album completely changed how I saw both traditional Spanish music and progressive rock. It blends flamenco
influences with prog in a way that feels natural and deeply emotional. The sound is rich, atmospheric, and full of
feeling, with Andalusian roots shining through every track. There's a raw honesty in the vocals and a sense of
melancholy that really stuck with me. It opened my ears to a whole different musical identity, showing me that prog
rock didn't have to follow the same patterns I was used to. Even now, it feels unique and powerful.

KARNIVOOL In Verses (Heavy Prog, 2026)

Mon, 4 May 2026 02:33:32 EST

Review by Lolion — In Verses feels like a solid return for Karnivool, landing around an 8/10 for me. It keeps their signature prog sound
but trims some of the excess, focusing more on atmosphere and groove. The riffs hit hard, but it's the layering and
dynamics that really stand out. There's a strong sense of control in the songwriting?nothing feels overdone, yet it
still has that expansive, emotional pull. Some tracks take a bit to grow, but once they click, they stick. It may not
reinvent their sound completely, but it refines it in a way that makes the album really satisfying to revisit.

STEVEN WILSON To the Bone (Crossover Prog, 2017)

Mon, 4 May 2026 02:28:25 EST

Review by Lolion — For me is perhaps his most commercial release, leaning into more accessible structures and polished production. At first glance, it might seem like a departure from the complexity often associated with his work and progressive rock as a whole. However, that accessibility becomes its greatest strength.

For me, it's one of the progressive rock albums that conveys the most emotion. Tracks like "Pariah" and "Song of I" feel intimate and deeply human, blending pop sensibility with Wilson's signature atmospheric touch. There's a strong sense of nostalgia and vulnerability running throughout the album, making it incredibly easy to connect with.

It may not be his most experimental record, but it's one of his most sincere?and one that resonates on a deeply emotional level.

I love it very much!!!!!!!

HASSE FR�BERG AND MUSICAL COMPANION Powerplay (Crossover Prog, 2012)

Mon, 4 May 2026 01:39:07 EST

Review by Rysiek P. — I enjoy exploring the realms of symphonic-progressive rock, perhaps much more than any other. I'm not
sure if this admission of musical preference has any significance or not, but hearing a track from an album that's
twenty or thirty minutes long gives me a thrill. And although in this case, which I'll discuss in more detail later, there
are no such compositions, the album, originally released in 2012, filled a certain feeling of lack that arose back then.
Although, to be completely honest, 2008 would be the year I felt that "lack."
A year earlier, a very good album, "The Sum Of No Evil," was released, featuring a wonderful cover by Ed
Unitsky of The Flower Kings. The album featured a distinguished lineup: Roine Stolt, Tomas Bodin, Jonas Reingold,
Zoltan Cs]]>��top of my personal playlist to this day (it's only twenty-four minutes long). And everything went quiet. Of
course, the band went on tour (November 2007), but with a new drummer, Pat Mastelotto. In 2008, the US tour was
canceled. Jonas Reingold focused on his own project, Karmakanic, recording the album "Who's The Boss In The
Factory." Tomas Bodin was recording a solo album, "Cinematograph". In an interview from that period, Roine Stolt
said: "(...) yes, work on compiling material for the next Flower Kings album is already underway, but this time it will
be a very long process. We will put 50% more effort into finding the right songs/lyrics, and we will also make sure
that whatever we play will be 100% valuable and straight from the heart, as well as played from the heart, with
precision and passion. It may take a year, maybe two, but we will give you everything you love about TFK and
progressive rock in general, only better this time." In short, silence fell on the Flower Kings camp. 2009 brought the
album "The Fading Ghosts Of Twilight" by Agents Of Mercy, on which Roine Stolt played the lead role. Around April
of that year, news emerged about the supergroup Transatlantic's renewed recording plans. The result of this
"reunion" was the captivating album "The Whirlwind," released in late 2009, featuring the magnificent title suite
(arguably one of the most important in the history of symphonic rock). Tomas Bodin formed a new band, Eggs &
Dogs, and recorded the album "You Are" (Michael Stolt played bass on this project). Finally, Roine Stolt and Jonas
Reingold participated in the work on the band's debut album, An Endless Sporadic. 2010 saw the Transatlantic tour
and a joint US tour with Karmakanic and Agents Of Mercy. And in this entire "puzzle," there's no information
about... Hasse Fr]]>�regarding the reissue of the album, which will be discussed in just a few sentences, the beginning of his own
musical project called Hasse Fr]]>�debut album, "Future Past," in August 2010. In July 2011, the band re-entered the studio to begin recording their
next album, "Powerplay," which saw the light of day in April 2012. This time, the band decided to work with his
colleague from The Flower Kings, Tomas Bodin, as co-producer. What started as a relaxed and enjoyable recording
session suddenly turned desperate due to a tight deadline. The reason was that HFMC received invitations to two
major festivals: Night of the Prog at Loreley in Germany and RoSfest in Gettysburg, USA. Powerplay helped the band
connect with fans on both sides of the Atlantic, playing shows in both Europe and the United States. And since
"Powerplay" has never been reissued since its 2012 release, it's fitting that, thanks to the efforts of Freia Music, we
now have in our hands a remastered version of this fantastic album, with two additional bonus tracks from shows
in 2022 and 2024.
The remastered "Powerplay" album contains nine tracks plus two bonus tracks, and despite a fourteen-year
hiatus, it sounds... symphonic, rock, progressive... fantastic. From the very first moment, you know more or less
what to expect from this album. "My River to Cross" - the first track on the album - begins, continues, and ends as
befits a true symphonic composition. Keyboards, guitar, polyphony, and everything needed to occupy the musical
spaces for just over ten minutes. I wrote above - more or less because please listen to the powerful guitar
threads, which touch on a metal style, supported by Hasse's slightly raspy vocals.
The guitar opening of "The World Keeps Turning" adds a rock edge to this composition. This arrangement is
perhaps the hallmark of this album. Powerful rock guitars are supported by powerful organ chords, which enchant
during quiet moments and shifts in tempo to more lyrical ones. "The Final Hour" ? this composition sounds almost
like the calmer songs of The Flower Kings. It has a delicacy and playfulness reminiscent of that band, and its
distinguishing feature is the guitar's role as a tempo setter, with the magnificent organ and backing vocals matching
it. "Waves" follows suit. It sounds elegant and perfectly arranged. It simply flows like a river of melody, lapping its
banks with a calm current and a romantic atmosphere. Please put this composition on loop, because you truly can't
tear yourself away from its hypnotic melody.
I've never been to Venice, California, but after listening to "Venice CA," I think I have some idea of what I could
do there... Hmmm, let me think about it. This track also marks (in my opinion) a kind of caesura between the
progressive and rock parts of the album. A strong sound with an American rock flavor, a rock-pop chorus. Simply a
good, melodic song. Similarly, "Is It Ever Gonna Happen" is simply a rock march with strong, rock vocals reminiscent
of those known from hard rock bands. After the heavier riffs of the previous track, the next one, "White Butterfly,"
conjures up a delicate story about inner turmoil with the help of slide guitar. Although "The Chosen Ones" begins
similarly to "White Butterfly," it's not a pretty song, returning to the rock genre, enriched by the pleasant sound of
keyboards. The familiar sounds of the 1970s are here, artfully blended with contemporary rock stylings. The final
track from the original album is "Godsong," with its piano opening, again somewhat reminiscent of the symphonic
work of The Flower Kings, with a small but significant addition... a sort of Queen-esque musical and vocal interlude.
Listen to this track from around the three-minute mark.
The remastered version includes the aforementioned two live bonus tracks: "White Butterfly" and "Venice CA."
There's a distinct vocal difference between the 2012 recording and those from 2022 or 2024. It's clear that the live
recordings are more mature. "White Butterfly" sounds dignified, accompanied only by electric piano. "Venice CA"
still quickens the pulse and shows its rock edge. It's a recording from two years ago. Both compositions prove they
haven't dated, that they still possess a palpable charisma, just like the entire album.
It took a long time for this album to reappear in stores. I'll just say this... it was worth it, because doesn't (as the
saying goes, or as some folk wisdom goes...) waiting whets the appetite...? And while this refined version of the old
album has somewhat eased the hunger for new music, it hasn't quenched it. Something more would have been
nice, and rumor has it that patience pays off. I recommend this release, because it's both a return to the near-
beginnings of the Hasse Fr]]>�good music.
see also MLWZ.pl

SUFJAN STEVENS A Sun Came (Crossover Prog, 2000)

Sun, 3 May 2026 22:22:38 EST

Review by kenethlevine — Completed at the tender age of 24 by a singer/songwriter and instrumental polyglot with some college band experience already
to his credit, "A Sun Came" is like a wide dispersal seeder that is attempting to determine, almost through trial
and error, which ones will be the most viable. Or like a nervous pre-date individual trying on 15 outfits to see
which is the one most likely to...and finally deciding to wear 7.5 of them at once.

To the prog folk crowd though, it's a rare opportunity to hear him in this style as opposed to the more eclectic,
experimental or indie pop sound that has dominated his daunting output, underscoring his innocent commercial savvy. As would
become customary, it's a top heavy concoction, with, apart from the dispensable and off the wall sub-minute
interludes, the first 6 tracks being mystical mini masterpieces or at worse, vivid brushes with the Medieval, Celtic, and
Middle Eastern axes. The absolute best are the TULL-like "We are What you say", the neo folkish "A Winner Needs
a Wand" that presaged HEXVESSEL by a decade and a half, and the creepy "Dumb I sound" with guest ghost
references from across every diaspora in every realm known and unknown. "Rake" engages in weird vocal effects and I
prefer the bonus version at the end of the re-release. "Demetrius" is somewhat drone-ish but is more than
rescued by its last few minutes in the key of Asia Minor. "Wordsworth's Ridge" seems to have poured the mold for
the later English folkies CIRCULUS.

This is where the seeder gets jammed and something more like a nut is alchemized, particularly on the
chaos theory unfortunately put into practice on (but not in a good way) "Rice Pudding", an accidental grandchild of KING CRIMSON's "Cat
Food". "Super Sexy Woman" really kills the mood though the lyrics are deliberately so unfunny they are good,
and "Happy Birthday" is forgettable due to being slightly less offensive. Luckily the race to the finish includes the
trio of "Kill" (which is starting to sound like his signature balladry in its infancy), the hypnotic "Ya Leil" with "exotic"
vocalise from Ghadeer Yaser, and finally the Appalachia tinged title cut, so we can't simply bisect the album
without voiding the warranty.

"A Sun Came" illuminates, if not Sufjan's future trajectory, then his larval wizardry that, while by definition immature, is a
blessing to fans who still long for a complete folk album from he who has done pretty much everything else.

STORMY SIX L'Apprendista (RIO/Avant-Prog, 1977)

Sun, 3 May 2026 22:00:17 EST

Review by The Progolyte — After I was left generally displeased with the band's 1975 album titled Un Biglietto Del Tram, I was
surprisingly still pretty excited to check out their 1977 record, L'Apprendista, as it apparently didn't carry
the Eastern and vintage feel the other album had, and it also supposedly was more complex and
interesting. It also just had a higher rating, so going into this, I had high hopes. And yes, I did actually enjoy
this one, but not as much as I thought I would. Unfortunately, the band's soulless vocals and slower sound
are still evident throughout the whole record, and though the music is now a lot more intricate, something
felt missing. Moving on, the music is a lot more experimental and uncanny, with its low atmosphere making
for a really good listening experience. The personnel includes Franco Fabbri on guitars, vibraphone, and
xylophone, Umberto Fiori on acoustic guitar and vocals, Carlo de Martini and Tommaso Leddi on violin,
mandolin, and various other instruments, Luca Piscicelli on bass and vocals, and Salvatore Garau on drums.
There are also a ton of guest musicians on here, adding various horn and string arrangements to the
record.

On this record, the tracks are much longer than what was found on previous Stormy Six records, with some
of them reaching over seven or eight minutes long. All of the tracks have a lot more details and are each
really good, with tons of explorative music that reaches into a sound very similar to normal Rock In
Opposition while at the same time making itself very unique from other bands. It's very technical, although
not as complex as bands like Henry Cow and Present (although Present would come out only a few years
after this would be dropped). I thought the band could've had more energy put into this record, but it's
enough to please me and still leave a good impression on me, even if I didn't like the vocals. Now, while the
music itself is amazing by having various intricate arrangements and passages, it does lack emotional depth
and deeply touching parts (which is actually common in Rock In Opposition). I also thought that the cover to
the record was unique and eye-catching in the funny yet strange picture that holds an album of this nature.

In conclusion, this is not only the best Stormy Six record (although I haven't listened to their full
discography yet) but also probably one of the top twenty Rock In Opposition records. It's amazing in the
way they make music this quirky and interesting and are still on the more obscure side of the genre. My
final rating is a strong 4/5.