Reviews (all) - Progarchives.com

NILE ON WAX Bell Dogs (Post Rock/Math rock, 2017)

Fri, 7 Aug 2026 17:18:44 EST

Review by Sean Trane — Nile On Wax (let's say NOX for intimate by-standers) was another attempt in Belgium to produce some
interesting post-rock, like Sweek, Celestial Wolves, Cecilia::Eyes, Motek, Transit, and Toman. In
general one can say that most of these bands have sonic inspirations of the Constellation label
tendencies. However, in such a project, the presence of violonist Catherine Graindorge may appear a
bit surprising, knowing her spectrum of her usual musical adventures - which can be described as
"touche-]]>�attempts had ended and is still around in the mid-20's.

Like most of Post Rock projects, the music developped is calm, dark, moody, sombre, ambient,
instrumental, and often is cinematic and Nile On waX (that's the official spelling) doesn't diverge
from the principle. The album starts stringly with e 11-mins Rhapsody and finishes in a bang with
the 13-mins title track. In between those two apex, the tracks are in the same line, though maybe
less hypnotic. . I haven't heard their latest After Heaven (released in '23), but bell di-ogs is
IMHO, their better work, though let's face it, no Post Rock album has been "essential" in the last
20 years.

ASHTRAY NAVIGATIONS Quad (Krautrock, 2026)

Fri, 7 Aug 2026 16:48:43 EST

Review by Chaoticreason — 3.5 stars. It would be four if they had only released 10 albums instead of 100.

Okay, I am not entirely sure that anyone even gives a sh.. about this band. Are they even a band? How come they
have made over 100 albums? These are all facts, according to my oracle, Google God, are true.

So here is a 1st review of their music, on PA.

I am not sure why I picked upon this album. The band is hugely prolific, as Ashtray Navigations, do they not even
care what others make of their music? Indeed, if I had as many albums to my name as this band, I would not
really care what people thought of my music.
But they have nonetheless released a huge number of albums, over 100, That may or may not make them the
most prolific band in history. I do not know the answer to that question, and am too scared to Google it. Just in
case, it goes well beyond a mere 100 albums (I suspect it does), and is something ridiculous like 1000 albums, I
simply do not want to know, the whole idea sets my mind affright.

So what? You bored readers are wondering, does their music sound like?
Well. I have just played their 2026 album Quad (probably one of the many albums from 2026) a few times over,
and it is not the disaster zone that I had expected. Whilst it is not the best album I have heard so far this year, it is
equally a very long way from being the worst. How do you sum this band up upon one single album? Well! Quite
simply, you don't, you can't. How can you?

So down to the music. I was astonished to hear tunes, decent enough tunes, even if nothing amazing came my
way from the album. I was surprised that the music could hold my incredibly short attention span for more than
a few minutes. The whole album clocks in at a merciful 44 minutes. I use the word merciful, for the simple reason
that I could be spending my time listening to far better music than this (or could I?). That is in no way to say that
this is bad music, it is not. I can just think of a few bands that I would rather be listening to. Yes, just a few.
It is not as if this is bad music, indeed it is way more inventive than you would expect from a band with over 100
albums to their name. It is mostly that my presumption is that no band can release over 100 albums and yet still
maintain any kind of momentum. Well. Ashtray Navigations has proved my theory wrong. Whilst this is not the
best album I have heard this year, it is equally a really long way from being the worst.
It is inventive in its deliverance and sound, It is like that interesting uncle who holds a Ph.D. in philosophy, and
has a head full of great philosophical stories, that hold you rapt in attention because if you miss a single beat, you
have no hope of grasping the import of that great insight. This album is way more than great background music,
it is actually worth listening to. But, up alongside some of this year's better albums, it falls a bit short. But,
honestly, not by all that much. It really is a rather good slab. A more than worthwhile excursion into the
wonderful world of Ashtray Navigations. A great name for a band.]]>�
It still blows my mind that a band can release this many albums, and the one that I pick to listen to, really is a
rather good work. Maybe I just got lucky? Who Knows? Least of all me.

NEV�RLL�JF Klusterfloristen (Heavy Prog, 2009)

Fri, 7 Aug 2026 16:26:53 EST

Review by Sean Trane — How these Swedish musicians ended up in PA's Heavy Prog gnre is one of the greatest mysteries since
the Big Bang, because their sole album goes in all direction from the JR/F base. How NevarlLajf
managed to find the Eastern French label for the release and distribution of their album is also
surprising, but it remains explicable. How Klusterfloristen found its awfully ugly sleeve artwork
is most likely due to the planet aligning the wrong way, ensuring a direct ozone hole for bad taste,
but it can be forgiven, given the young age of the quintet.

OK, their instrumental music is definitely fusion of all types of influences from classical, jazz,
rock sometimes dominated from a crunchy guitars dual attack, but IMHO, th's the organ (ok via
synths) that leads the soundscapes towards avant-prog territories, without crossing that boundary.
Outside the closing 11-mins Kyskhastsdisco track, the rest of the tracks hover between 3 and 7
minutes, but there are tons of things happening in them, though nothing is revolutionary or
groundbreaking, but these young lads certainly knew how to lay a timeless 70's sonic ambiances.
Somtimes, one can think a jam is developping, but the whole thing remains a bit too complex to allow
total improvisation freedom.

Originally, I'd bought this album some 10 to 15 years ago, but never got around to laying my
thoughts about, but it turns out the disc got stuck in my car deck for about a week, so it was the
only thing I could listen until I finally managed to pop it out. Hence this review. Nothing
essential, but if you like it complex, instyrumental and with some sonic humour (they're not Zappa,
though).

99 NAMES OF GOD eXcursions (Heavy Prog, 2000)

Fri, 7 Aug 2026 13:05:13 EST

Review by Chaoticreason — 2 stars,

A most beautiful female vocalist pervades this music.

However, I find the lack of detail to the nuances of musical detail, and also the use of a drum machine severely
detract from my finding this album of any great worth.
It would be difficult to recommend this album. I have no wish to put anybody down, but I just feel that not enough
time, thought, and effort went into making this album, maybe money as well?

It certainly has a degree of potentiality, but that all feels lost in the recording, of what could have been a pretty good
album.

I have listened to the whole album (ouch). It is not completely without merit, but I could not really see why anyone
would pick this album out from so many other, more accomplished works that lie within this realm.

I hate writing bad words about anybody. But it is painfully obvious that this could have been a way better album
than it is.

As it stands, this is not a well put together work, the use of a drum machine, (drum machines are okay in the right
place) is a disaster. I don't wish to pick any further holes in this work, as that would be simply disrespectful.
I have probably said enough already.

7TH KIND Sea Monster (Crossover Prog, 2010)

Fri, 7 Aug 2026 12:23:31 EST

Review by Chaoticreason — 4 stars.

7th Kind is 'supposedly' a Chicago-based art rock band? BUT, and it is a huge but! They don't sound like they have
ever even been to Chicago, let alone reside there.

Good. Read on...

Robert Rodi (vocals). Is their frontman, and he is more than capable of delivering the bands, excellently weird and
very catchy jazz take on life. I am not a great jazz fan at all (I tend to shy away from the word Jazz), so for me to find
this 'odd' work interesting is something of a revelation to my own head. It is definitely Jazz, 'but not as we know it,
Jim'.

This is an enigmatic band to put it mildly.
They sound way more like they are from South America, but who am I to judge. They have a pretty slick Jazz sound
that works for even me. I don't hate jazz, I would just rather listen to something else.

This is a slightly strange album, (I think) but knowing so little about jazz, puts my whole perspective out of kilter.
I generally know when I am hearing good new music, but that doesn't really apply to jazz and me. Yes, the music is
hopelessly catchy, so I can only base my opinions upon that premise.

I can only reiterate that I am not a fan of jazz, and will never play this album again. Except that I have stuck it on my
playlist, so when it's time comes I can throw it out, as just another jazz album that I don't care for.

But these guys do most certainly have something good going on... and this from a non jazz fan.

I reckon that this could well appeal to all those who love 'pop' jazz with a definite twist. This is good music, that is
hugely underappreciated. But what do I know, a non jazz fan?

If you like catchy jazz with a twist, this will be right up your street. It really is excellent.

TANGERINE DREAM Electronic Meditation (Progressive Electronic, 1970)

Fri, 7 Aug 2026 11:45:24 EST

Review by VianaProghead — Review N]]>�
Tangerine Dream is a progressive electronic rock band that was founded in Berlin, Germany in 1967 by Edgar
Froese. Initially the band was formed as The Ones in 1965. Tangerine Dream is one of the electronic pioneers with a
very extensive and amazing career. The work of them comprises several and different phases all over the years. The
initial phase also called The Pink Years is the phase that is of interest for this review. As its name indicates, this is a
musical phase a bit influenced by Pink Floyd. The albums that belong to that phase are the first four studio albums
of Tangerine Dream, "Electronic Meditation" from 1970, "Alpha Centauri" from 1971, "Zeit" from 1972 and "Atem"
from 1973.

So, their initial phase began with an avant-garde and herb-rocking debut work, perhaps misleadingly titled
"Electronic Meditation", because it's more a krautrock than an electronic work. In reality, it was only on their second
studio album "Alpha Centauri" that the synthesizers came into play. Until then they managed to play without
electronic instruments. Besides, the line up on "Electronic Meditation" isn't what is considered the classic line up of
Tangerine Dream. In reality, it was only on their third studio work "Zeit" that appeared what is now considered the
best line up of the band, Edgar Froese, Christopher Franke and Peter Baumann, because on their second effort
"Alpha Centauri", Bauman wasn't present yet. So, "Electronic Meditation" appears to be quite a polarizing album
between fans, due to that. After this album, each member went his own way, and each went on to be a renowned
krautrock artist in their own way.

"Electronic Meditation" strongly deviates from all the other albums of the huge Tangerine Dream's catalogue. As I
mentioned above, it's very ironic that "Electronic Meditation" was the only Tangerine Dream's album released in the
70's where its title didn't fit at all. It's neither electronic music made by synthesizers or meditative. The album
consists apparently of experimental noises without a clear direction and purpose, performed with classic rock
instruments. Nothing less representative could have been released as the debut of an electronic progressive act. In
reality, this is a real rock album made with rock instruments. It's actually krautrock, the musical style invented by
the German musicians in the late 60's and in the early 70's. "Electronic Meditation" is quite similar to "A Saucerful Of
Secrets" and "Ummagumma" by Pink Floyd. Still, I also noticed the kind of music that Schulze later on would record
with Ash Ra Tempel after he had left Tangerine Dream. Sometimes I even hear some hints of Jimi Hendrix, but also
from their compatriots of Amon D]]>��famous too.

"Electronic Meditation" has five tracks. The album starts with "Geburt (Genesis)", which is a track dominated by
Schnitzler's scratchy creaking cello, combined with wild drumming and furious flute sounds performed by their
guest, Keyserling. After a while something like a rhythm develops, but as soon as this is the case, the piece is
already over and it goes straight and abruptly into its second track. The fittingly titled "Reise Durch Ein Brennendes
Gehirn (Journey Through A Burning Brain)" begins as a freeform piece, then the organ enters with mighty tones, and
finally the piece develops into a garish guitar orgy. This track encapsulates the whole krautrock vibe and it's a
perfect example of crunchy rock and roll. This is probably the highlight of "Electronic Meditation". The pounding
drums and acid guitar continue for "Kalter Rauch (Cold Smoke)". It begins with quiet organ sounds, which are
repeatedly interrupted by short outbursts of chaos. Then the cello scrapes again, and snappy drums come and go,
and another relentless psychedelic guitar attack ensues. I think it was mostly Pink Floyd that gave the inspiration to
this track with its lengthy guitar/organ freak-outs. "Asche Zu Asche (Ashes To Ashes)" feels almost conventional
compared to the rest of the album with a consistent rhythm and a halfway recognizable melody. The piece grows
more and more furious with more distorted guitar over lazy cymbal heavy backbeat and, then suddenly, fades out.
It reminds me a bit of The Doors. The concluding "Auferstehung (Resurrection)" begins with an almost solemn organ
melody, to which a narrator declares a true incomprehensible text that was recorded backwards. In the further
course, the theme of the opening track is taken up.

Conclusion: Tangerine Dream is the best and most important electronic progressive act of the 70's and of all time,
and they would over the decade make some of my all-time favourite music. Tangerine Dream is, next to Kraftwerk,
the most well-known electronic formation in Germany. And just like them, they began almost entirely non-
electronically. The first Tangerine Dream's album is quite a refreshing and experimentally quirky affair, quite
different from the works that both Schulze and Froese later released. The five tracks are certainly worth listening to.
I think the music here is probably better digested for many people than some of the material on their earlier real
electronic albums. Besides, "Electronic Meditation" is a nice way to discover how Tangerine Dream started their
career. And, all in all, the music on this album is probably a pleasant and interesting surprise, especially for those
who are huge fans of the krautrock style of music.

Prog is my Ferrari. Jem Godfrey (Frost*)

NEW MEXICAN STARGAZERS Morning Rituals (Progressive Electronic, 2026)

Fri, 7 Aug 2026 10:02:51 EST

Review by arcane-beautiful — Morning Rituals by New Mexican Stargazers is a brilliant piece of ambient experimental music, that's very
relaxing to listen to and overly melodic. The project is headed by multi instrumentalist Carter Eggert, who mixes
live instrumentation and field noise with electronic loops. Written as 2 long pieces, it gives me a very Alan's
Psychedelic Breakfast vibe, with ethereal loops that while on the long side, show off great composition skill.
While it is a bit on the long side, it is reminiscent of a more electronic Mike Oldfield at times. I'd give this a low to
mid 7 out of 10. The track I'd recommend is A.

KRAANERG Heart of a Cherry Pit Sun (RIO/Avant-Prog, 2024)

Fri, 7 Aug 2026 09:48:55 EST

Review by Chaoticreason — 4.5 stars.

Superb tunes, Symphonic Prog Rock, whilst maintaining a very original sound.

I am impressed by this album, their former album was good, but never quite reached the dizzying heights that this
very addictive album manages to do.

As you can see by the bands' genre designation (RIO/Avant-prog) this will not appeal to everyone. But! And, it is a
huge BUT. This band has some real (dare I say it) catchy lines going on because they can write 'tunes'. The music is
really not that far out. I would almost (though not quite) go as far as to say that this is 'progressive symphonic prog'
in the sense that it is a genuine progression. The kind of symphonic prog that we all love, only from a slightly
oblique angle. As much as we all wish that Genesis, Yes and ELP, etc had all written more great albums. They didn't.
So here it is, the new pure sound of unadulterated Symphonic Progressive Rock.

Here is an album that fully caries that torch of brilliance forward, into wholly new realms.
This album has it, it is not bowing down to any former realms of music, it is a new creation. The way forward, the
sound of now, pointing rockets at the sky. This is the future. This is Symphonic Progressive Rock.

AMBROSIA Ambrosia (Prog Related, 1975)

Fri, 7 Aug 2026 09:32:08 EST

Review by Abrasmatheus — Coming to this album, I expected something much closer to the band's later soft rock sound. Like many
listeners, I first knew Ambrosia through songs such as "Biggest Part of Me," so discovering their self-titled
debut was quite a surprise. Rather than polished adult contemporary, this record presents a fascinating
blend of melodic soft rock and progressive rock, creating an identity that feels both sophisticated and
accessible. It easily exceeded my expectations.

One of the album's greatest strengths is the balance between memorable melodies and progressive
arrangements. While the music rarely reaches the complexity of the major symphonic prog bands of the
era, it incorporates shifting structures, rich keyboard textures, dynamic contrasts, and tasteful instrumental
passages without sacrificing accessibility. The result is an album that can appeal both to progressive rock
fans and to listeners who enjoy melodic rock from the 1970s.

The opening track, "Nice, Nice, Very Nice," immediately establishes this identity. Its polished production,
layered vocals, and elegant keyboard work remind me at times of the atmosphere later associated with The
Alan Parsons Project, while still maintaining Ambrosia's own personality. It is an excellent introduction and
one of the reasons the album makes such a strong first impression.

My favorite tracks are "Time Waits for No One," "Holdin' on to Yesterday," and especially "Make Us All
Aware." The latter stands out for its stronger progressive character, interesting rhythmic development, and
satisfying structural variations. Another highlight is "Mama Frog," whose instrumental approach
occasionally brings to mind the energy of Emerson, Lake & Palmer and even some of King Crimson's more
adventurous moments. The closing epic, "Drink of Water," is another outstanding composition, giving me
the feeling of hearing Crosby, Stills & Nash interpreted through a progressive rock lens. It is a beautiful and
memorable conclusion to the album.

Instrumentally, the album is consistently enjoyable. The keyboards and synthesizers play a central role,
adding color and atmosphere throughout the record, while the vocals remain expressive without becoming
overdramatic. The musicianship is polished, serving the songs rather than existing simply to demonstrate
technical ability.

Although the album incorporates obvious soft rock influences, I still consider it a genuinely progressive rock
release. The frequent changes in mood, carefully crafted arrangements, extended compositions, and
willingness to experiment separate it from conventional soft rock albums of the period. At the same time, it
avoids excessive complexity, jazz-oriented improvisation, or the grand symphonic approach that
characterized many of its contemporaries. That accessibility is one of its greatest strengths rather than a
weakness.

Lyrically, I did not focus closely on the individual songs, but they complement the reflective and uplifting
atmosphere created by the music. Combined with the warm production and melodic songwriting, the
album maintains a consistently pleasant listening experience from beginning to end.

Perhaps the greatest compliment I can give this album is that I never find myself wanting to skip a track.
There are no weak moments here, and each song contributes something meaningful to the overall flow.
The atmosphere is inviting, melodic, and subtly adventurous, making it an album I continue returning to
years after first discovering it.

I would recommend this record to anyone who enjoys the intersection of progressive rock and 1970s soft
rock. Listeners who demand highly technical, symphonic, or heavy progressive music may find it too
restrained, but those looking for sophisticated songwriting with progressive touches should find plenty to
appreciate.

YES Aurora (Symphonic Prog, 2026)

Fri, 7 Aug 2026 09:15:34 EST

Review by Aussie-Byrd-Brother — Nearly sixty years into their existence, legendary rock band Yes may never recapture that dynamic, extravagant
and inspired edge that made them one of the defining prog-rock bands of the Seventies, but that doesn't mean
there's nothing left of worth with the current line-up and their recent releases. Mostly driven by longtime
guitarist Steve Howe, here aided by frequent contributors - keyboardist Geoff Downes, bass player Billy
Sherwood, former Glass Hammer frontman Jon Davison and more recent drummer Jan Schellen - this
incarnation of the symphonic institution (having navigated the loss of founding bassist Chris Squire and longtime
drummer Alan White) returns with their fourth album together, and twenty-sixth studio work overall, 2026's
`Aurora', that shows them still offering colourful, adventurous and melodic rock that many die-hard fans will
enjoy.

Title track `Aurora' is a glorious and slick opener, where fancy orchestration, calling to mind their 2001 Album
`Magnification', swoons around Steve Howe's reaching guitar strains, Billy Sherwood honouring the tradition of
the late Chris Squire's upfront bass rumbles and a flighty Jon Davison vocal. Joyful with rousing reprises of
striking themes, it makes for a memorable and impressive opener about evoking transformation and
connection, and damned if "Like paper doves in a cut-out world..." ain't a darn adorable lyric!

Despite lovely group harmonies and little pockets of fancy instrumental touches, `Turnaround Situation' doesn't
hold together particularly well as a whole, but there's lovely buoyant bass and fancy acoustic flourishes racing
alongside each-other throughout the dreamy and romantic (and better) `Love Lies Dreaming', perhaps vocally
and musically one of the prettiest pieces of the disc.

Being the longest track on the album at near fourteen minutes will instantly pique the interest of most prog-rock
fans, but...lower that eyebrow, mister! Sadly the four-part `Countermovement', contemplating human
authenticity, comes across as more a collection of fragments and half-completed passages rather than a
coherent and flowing whole, but there are a nice range of tempo-shifts back and forth, and a lot of focus put on
both Steve Howe's humble and pensive vocal and a range of versatile guitar solo spots.

With `Ariadne', Yes adopts a storytelling approach of so many prog bands old and new, looking to myth and
legend for inspiration, and it suitably surges forwards with Jan's strident drumming and delicate orchestration
that soars with classical fancy. At its heart it recounts the mythological Greek tale of Princess Ariadne and the
Minotaur's labyrinth, which the band also uses it as a metaphor for being lost, with lines like "With walls around
you, you're trapped in your own space", and finally taking control. Howe's guitar adds a heroic flavour and
urgency, and it's nice to hear group harmonies from several members together throughout.

Despite a fairly banal lyric about springing to action, `All Hands on Deck' is quite fun with jaunty keyboard/guitar
interplay, made memorable by Steve's guitar grunt that takes on a bluesier toughness in little bursts, and it's
nice to hear Jon singing a little more naturally deeper throughout too! In what could probably be considered an
interlude, the three minute `Outside the Box' is primarily an instrumental. Framed by a constantly morphing set
of wordless sighing group harmonies, they're interspersed with an eclectic grab-bag of fuzzy electronic swirls,
jamming bass/guitar duels and intricate drum patterns across a range of tempos back and forth.

Short and sweet, soft-rocker `Emotional Intelligence' opens with gentle piano, unassuming acoustic strums and
the warm hum of Hammond organ, Davison softly offering a call to understanding and unity with its well-
meaning lyric. It briefly springs up to life near its climax with slide guitar wisps, and this compact little album
closer displays restraint and tastefulness throughout.

All versions of `Aurora' come with two pieces that are classed as bonus tracks, but they are actually both
worthwhile inclusions that don't disrupt the flow of the core album or come across as mere throwaways.
`Jambustin' (really just a fun way to refer to being `cut off'), is a warning against negative behaviours and arguing
with or obstructing others, displaying a jauntiness in its verses and a softly grooving chorus with slinking bass.
Despite a fairly overused motive of moving water as a metaphor for life and the passing of time, `Watching the
River Roll' embraces the theme with acceptance and peace, and it delivers dreamy and shimmering
instrumentation (not to mention constantly drifting Moog solos!) and bristles with an upbeat, life-affirming
positivity that glides with energy.

Yes has always had more to offer than just the contributions of former vocalist Jon Anderson and keyboardist
Rick Wakeman, and modern, worthwhile work from both of those artists can easily be found elsewhere, so their
absence doesn't take anything away from this current version of the group. Some pockets of the fanbase will
find their exclusion absolutely inexcusable, meaning there's no coming back from that, but Yes has constantly
had an eclectic revolving door of imaginative, skilled and varied musicians that have all made exciting
contributions to the overall Yes sound throughout the decades.

Despite being a little overlong and delivering a couple of less successful pieces, Yes have delivered an enjoyable
disc of vibrant and eclectic rock in `Aurora', always melodic without falling into overtly poppy or radio-friendly
banality and full of interesting instrumental details. Given several re-spins, it proves to be valid addition to the
Yes legacy, with the current incarnation looking to their past but still moving forward in interesting and
rewarding ways, and if you appreciate the wider world of Yes music from a range of musicians, chances are
you'll find much to enjoy here.

Three and a half stars.

EXTOL Undeceived (Tech/Extreme Prog Metal, 2000)

Fri, 7 Aug 2026 07:48:49 EST

Review by UMUR — "Undeceived" is the second full-length studio album by Norwegian metal act Extol. The album was
released through Endtime Productions in June 2000. It]]>�although the two full-length album releases are bridged by the November 1999 "Mesmerized" EP. There
has been no lineup changes since "Burial", so it]]>�who also recorded "Undeceived".

Stylistically Extol have developed upon the hard-to-define extreme metal style of their debut album
and Undeceived is another interesting hybrid death/black/progressive metal release from the band.
The Christian themed lyrics are still in place but Extol for the most part keep their lyrics in
check and make sure they are not preachy/praise God type Christian themed lyrics. These lyrics deal
more with mental struggles, temptations, and how to overcome various issues in your life (by finding
the light/Jesus/God).

The first thing you notice when listening to "Undeceived" is how well playing Extol are. These guys
perform their music with great skill and conviction and both the harsh and the clean vocals which
are present in the music are also well performed. The sound production values are also on a high
level, providing the material with the best possible platform to shine. The songwriting is varied
and challenging but maybe lacks a bit in the immediate catchiness department. The more you listen
the more you remember the songs, but it]]>�
Upon conclusion Extol are arguably an intriguing band and "Undeceived" is a good quality release
from them, but their songwriting could prosper from a more concise formula. We always praise band]]>�for being progressive and incorporating a lot of sections and different time signatures, but to my
ears Extol is a band who are best when they play their most simple and atmospheric parts. That]]>�when their music has most impact. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

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

Fri, 7 Aug 2026 06:46:19 EST

Review by Chaoticreason — 4.5 stars.

I have a strange relationship with this band (then again, that is true of every band that I listen to). I generally put
all my albums (some 2,500 or so, many more sit in the sidelines waiting for me to pick them up again, post
removal from my playlist) on random play, so I frequently forget who the band is that I am playing. It ends up
being a game of Russian roulette (no pun intended). Like hearing an album for the 1st time, except that you know
the music, but can't remember the artist.

I must confess to being blown away sometimes by a Roz Vitalis album that comes up randomly, and at other
times thinking what the heck is this Rubbish. This is all of course down to how receptive my head is at that
moment in time. All good music has its place in my playlist, but my head is not always up for some of the
completely wild atonal stuff that is on my playlist. Whilst Roz Vitalis are certainly not in that category, of being for
very specific moments, they have enough of an edge to sometimes make me love them and other times not want
to play them. Whilst this may sound bad for my love of this band, that is quite simply not the case. Sometimes I
love the Beatles, or some early Bob, but not all the time.

So what do I make of this 25th anniversary record?

Well, as it uses some of the highlight tracks from their vast opus, there are tracks on here that I do already know,
but some of the arrangements have me guessing. I would say the band have played it fairly safe for long-term
fans, it is a great idea to mix some old material with new sounds. I would also say, for sure, that this is a great
introduction to a band that can push its sonic boundaries well beyond anything that they have done here. This is
not to denigrate this record, I just feel that they wished to capture the more listenable side of their music, as
opposed to alienating everybody with a full on expose of just how weird and wonderful their sound can be at
times.

Violinist, Vitaly Borodin certainly deserves mention, I only know his work with Vespero (another great Russian
band), but will happily seek out the other bands he has played in (they being The Legendary Flower Punk & Vevil).
He, as the rest of the band do, appear to have all had an obvious classically trained background. Still, the man
sticks some really great solo work into this recording, that bares no real resemblance to what I think of as
Classically trained violinist as doing. He plays an almost gypsy style (which I love) that overrides his classical
training.

So to sum this album up!

Well, I would say that it is definitely a great gateway into their music, for those who have perhaps been put off in
the past by their more oblique albums, (personally I love the more out there stuff. But! Only if I am in the mood).
It is also great to hear some old tunes rearranged, especially with Vitaly Borodin on board, the band have really
let him do his thing, as only he can do.
This is definitely an album worth listening to if you have the slightest interest in music that pushes boundaries,
but does not smash them to pieces, at least not here. (Totally free on Bandcamp as of writing this). This is a great
place to start for such a diverse and original band. Not too much weirdness, but just enough for those sat on the
fence to go for it. The recording quality makes it sound, at least, to my ears, as if it was recorded in a studio.
Others may have a very different take on that thought, it is just my opinion.

A great 25th anniversary recording.

PROTEST THE HERO Within (Tech/Extreme Prog Metal, 2026)

Fri, 7 Aug 2026 03:46:55 EST

Review by arcane-beautiful — Within by Protest The Hero is the band's most progressive and melodic album to date, but still keeping their
mathcore, punk and post hardcore energy. Musically the band are still shredding at tempos that would make
cars jealous, with some great impressive melodic and harmonic guitar playing. Vocalist Rody Walker's voice has
strengthened with each release, almost as if the band has a new vocalist, with his cleans being like a mix of
Claudio Sanchez & Rob Halford. Their songwriting has improved too, with even more progressive leanings,
showcasing longer and more atmospheric compositions, without any loss of energy. Also it's a short, sweet and
to the point album, with it only being over half an hour long. I'd give this a high 7 to low 8 out of 10. The track I'd
recommend is The Mariner.

LA MASCHERA DI CERA S.E.I. (Rock Progressivo Italiano, 2020)

Fri, 7 Aug 2026 02:33:21 EST

Review by Hrychu — Personally, I like SEI a lot and it might be my favorite Maschera di cera album. I find Maschera's
previous output to be a mixed bag to tell you the truth. I listened to the debut, Grande labirinto
and LuxAde and I always had the impression that, while the writing and compositions were really
strong, the production was really fricking mediocre. Plus, the anemic raw and minimalistic
orchestration didn't bring out the best of those compositions. Those albums felt a little too stale
every once in a while.

But, luckily, SEI really did give me a sense of Maschera taking a leap in the right direction. I
immediately noticed that the album had more varied orchestration than its predecessors. The band
utilized more instrumental textures and arrangement variation throughout the whole runtime of this
album, which makes it feel more lively. There are more parts that show movement in the keyboard
department, acoustic guitar driven sections come up more frequently, and in addition to the flute,
other wind instruments joined the party. That's a huge step up imo, from the quite undercooked
approach that relied mostly on overdriven hammond organ, guitar and rhythm section with occasional
synths. Super cool stuff!

JORDSJ� Salighet (Symphonic Prog, 2023)

Thu, 6 Aug 2026 19:06:59 EST

Review by Fercandio46 — The Norwegian duo of H]]>��Following an introduction titled "Invokasjon", which could well serve as a compendium of the entire repertoire to
follow, "Sankeren" kicks off with a sharp, aggressive electric guitar attack; yet, as H]]>�strange harmonies, so characteristic of Wigwam and practically patented by the Finnish band in the 70s, hovering
somewhere between sacred music and atonal contemporary classical, start to emerge amidst the Minimoogs and
Mellotrons. Then comes a section featuring a clavinet and a rhythm bordering on heavy metal, albeit in a
symphonic vein, with arpeggios reminiscent of Mike Oldfield's Tubular Bells. The balance between instrumental and
vocal passages is remarkable; after such high-speed intensity, an almost jazzy calm sets in, intimate and steeped in
nocturnal darkness. Having steadily evolved their compositional style since 2017's Jord, by the time Salighet arrived,
Jordsj]]>�
"Salighet I", with its blend of acoustic guitar, flute, and clavinet, possesses the modern feel characteristic of the later
Gryphon era; yet the album's defining feature is the work of the two musicians, a duo with such deep familiarity and
seamless sonic and instrumental interplay that they take the Wigwam formula a step further. They are worthy
successors, as their acoustic guitar and flute excursions brush against acoustic psychedelia before shifting abruptly
into a new section, such is the richness of the album's musical vision. Bass clarinets and oboes also make
themselves heard, creating an unusual atmosphere that reminded me of Marty Ehrlich's 1999 album Sojourn.
In "Salighet II," on the other hand, the electric guitar and keyboard seem to tell a story; there is something mystical,
an aura of discovery, as well as suspense, yet whether the music is in a slow or fast section, the momentum never
flags, nor does the listener's attention. The flute enters at just the right moment, as does the clavinet.

By the time the fifth track, "Ura," arrives, the mood is fully set; the polished precision reminiscent of Tubular Bells
blends with the mysterious guitar notes in the vein of Jukka Tolonen. Towards the end, the guitar strums in isolation
against a swelling keyboard, the air grows heavy and dense, while the Minimoog improvises, hovering between
progressive rock and jazz-rock. Medieval darkness gives way to a frenetic, syncopated rhythm that stumbles and
rises, stumbles and rises, gradually finding its own groove. In "Danseritualer fra Jordsj]]>�pastoral flute appears like a rainbow, only to be obscured by a free-form psychedelic interplay of bass and electric
guitar.

"Stjernestigen" takes a dramatic turn, evoking a classical-leaning Chick Corea, yet there is something truly special
about that oboe, the acoustic guitar, which later shifts to electric, and the impeccable vocals. The music unfolds
with a Minimoog reminiscent at times of Wakeman and a jazzy piano flowing like a fresh breeze, all wrapped in an
eternal mystery, one they will not reveal, for perhaps it is better that way; having learned the lesson of the past,
they understand that the continuation of an unfinished ending holds the greatest promise of eternity.

RING VAN M�BIUS The 3rd Majesty (Symphonic Prog, 2020)

Thu, 6 Aug 2026 19:04:45 EST

Review by Fercandio46 — References to Emerson, Lake & Palmer are unavoidable in "The Seven Movements of the Third Majesty", the first of
three tracks making up the second album by Ring Van M]]>�Majesty," they truly make the 70s sound their own, playing with such feeling, emotion, and conviction that they earn
the right to wear their influences openly. After all, there is a fine line between merely copying a sound for
convenience and channeling an influence born of years of listening and a genuine love for the genre, a path to
finding one's own voice that even the greatest bands have walked, and one that ultimately comes down to the
individual listener's taste. The surging Minimoog lines, the frenetic, air-slicing drums, and the bass advancing like a
blitzkrieg leave no doubt; shifting from rock-style Hammond organ to jazzier tones, the only thing left to do is enjoy
the superb musicianship and the fresh melodies, melodies that resemble constellations in the cosmos. Just as the
scientific community discovers new ones, isn't that the perfect terrain for progressive rock? Space constellations...
suddenly, the tempo slows, leaving the bass, drums, and Thor Erik Helgesen's vocals floating as if in a sci-fi series.
Around the midpoint of the track, the organ takes on a distorted sound, accompanied by bass and drums that turn
psychedelic, and at times they abandon their polished approach for a raw sound, losing the melody and
improvising; the same applies to the vocalist, who lets loose and screams, not like Hammill, but in his own style,
lending the music a vibrant, original character.

Things get heavy towards the end of "The Seven Movements of the Third Majesty"; the organ takes on an atonal,
distorted sound, reminiscent of Van der Graaf Generator, marking the moment Ring Van M]]>�its own as a trio. It is not just about their playing, but also their composition and passionate execution, the third
pillar of a great band on a great album.

"Illuminati" may continue to evoke Tarkus in their instrumental work, but Thor Erik Helgesen's vocal style leans
closer to Deep Purple, yielding a completely different result; then they shift into jazz-rock, and a Renaissance-style
section takes over, followed by instrumental passages featuring electric clavichord underpinned by drums and
bass, the likes of which one might think we would no longer hear these days. Yet, the raw Norwegian intensity of
the performance makes it feel new, original, and fresh. When the vocals need to be high-pitched and delicate, they
deliver just that, and in the span of a mere five minutes, "Illuminati" manages to encompass the feel of multiple
different songs.

"Distant Sphere" features a string section, and the shift in texture works beautifully; the arrangement is highly
original, as is the way the trio enters immediately after, creating a space-like atmosphere with bass and Rhodes
keyboard. When the drums kick in, it sounds like a trio featuring Bill Bruford, John Wetton, and Dave Stewart. The
composition here is far more experimental, it is hard to believe it is just a trio, with the keyboard once again
distorted to the point of frenzy; meanwhile, when they play jazz, they do so with an admirable groove, proving
themselves worthy heirs to the Norwegian tradition in this regard as well. They also infuse the music with an
ethereal, mysterious quality characteristic of space rock, a genre that influenced 1970s jazz-rock, and now
influences them.

"The M]]>�sings, he makes the song his own, imbuing it with the band's signature stamp, a noble wildness reminiscent of fur
coats and boots. The keyboards provide a grand, symphonic finale that gives way to the bass, where H]]>�Rasmussen proves himself every bit as virtuosic as his bandmates. On drums, Dag Olav Hus]]>�timpani to mirror Thor Erik Helgesen's vocal inflections. It is a majestic journey, driven by a Minimoog line that
stretches toward the horizon, where the sky meets a sea teeming with monsters promising unforgettable
adventures, before looping back in a circular path: like a M]]>�which was just beginning here.

ATHAK Primar� (Zeuhl, 2026)

Thu, 6 Aug 2026 18:07:02 EST

Review by Chaoticreason — 4.5 stars

If you have your musical head permanently screwed on back-to-front, with a head spun full of fantastical musical
aberrations, then this is a band for you.
This is not for the faint of heart, but those of us with a disposition for all things out there. There is much
rewarding music bound up in this avant-garde album, well worth checking out.]]>�
I believe that this is the band/artist's 21st album. There are many influences, with everything from the earlier days
of prog rock right up to some almost metal like lines of guitar work, but only in small doses. Athak is yet another
virtually unknown band, that is turning out some really high-quality music, that is going by unnoticed, by pretty
much everybody.

This is probably some of the easier to listen to Zeuhl music than many groups within the genre are offering. With a
fair amount of oriental folk music, some quite western modern classical piano, operatic vocals and an overall heavy
sound that never really feels metallic. It is one to stick the headphones on for and zone out with all the creativity on
offer for the full one hour, twelve minutes.

Well, recommended to all who like music to sound spontaneous as well as thought out all at the same time.

SLUG COMPARISON Cold In Cold Out (Crossover Prog, 2026)

Thu, 6 Aug 2026 15:52:53 EST

Review by Steve Conrad — And The Light is shining in the darkness, and the darkness did not overtake it.

SLUG COMPARISON

"Slug Comparison is the solo project of Canadian artist Doug Harrison, primarily known as the vocalist for progressive
rock/metal band, Fen."- from the artist's bio.

Credits:

Doug Harrison: vocals, guitar, bass, programming

Randall Stoll: drums

All songs written and produced by Doug Harrison.

And may I say, here are some impressions of this impeccable EP: Somber. Thoughtful. Melancholy. Dark, with faint
traces of light. Moody. Rich with meaning and texture and depth. Music and lyrics germane, inextricable, worth
pondering. Not a note or chord or lyric or vocal line misplaced or overplayed or unnecessary. Evocative.

"Cold In Cold Out"

"Cold in cold out/ that's how it goes/ in with a cry/ and out with a moan"?

This EP has six tracks playing for a total time of twenty-six minutes, forty-two seconds.

Yet in the best possible way, it seems much longer, and much shorter than that.

"Much longer", because there is so much packed into each song, so much emotion, so much to ponder, so much
complexity even while on the surface seeming so simple, so much heart and soul and mind and body.

"Much shorter", because when the listener gets into the flow, discovers the moods and rhythms and sensibilities of
each song- it seems over almost before it began.

Consider the title itself, "Cold In Cold Out". Frankly, I don't get the sense that Doug Harrison commits to paper, then to
tape, then on to the next iterations of music, anything that is extraneous or throw-away or superfluous.

What- You Thought I Would Explain it All?

All right- since you're paying me good money to write this review (well, then again, maybe not)- I think this EP is a
meditation on death, heartache, birth, betrayal?and some faint signs of hope, wrapped within beguiling, sonorous,
melodic music, and helmed by the wistful, powerful, emotive, tender voice of Harrison telling his truths.

For me, birth and death can be cold things- the baby abruptly expelled into the buzzing, blooming world from her
nourishing, safe womb. And, the brave soul who feels the breath of the reaper coming ever closer, who finds the
tongue of the hollow seeking to suck the life force from the increasingly vulnerable husk.

Look again and think about the album art pictured above: the enormous full moon, the umbilical cord/root system
trailing toward the fallen traveler, the spectral hills, the blooming night flowers and ferns, the clouds with silver linings.

And the opening track, "Tongue of the Hollow"- who is singing to us of dying (and being evocative, how is it that this
instantly makes me recall my mother's dying- her reaching for things only she could see in the air, her slowly wasting
away yet her life-breaths which she did not wish to relinquish)? Why is it that I recalled my sister and I needing to
make decisions about mother's few remaining things, even before she died- and feeling like some kind of heartless
parasite removing them one by one?

Who is "the stranger above whose footsteps creak in beautiful time"?

And all of it set in this solemn, somber tune, austere classical guitar, simple but powerful drumming, building,
growing?"oh when the melody pours its wine/ out of the body, out of the mind", and the stranger stepping once more
"to beautiful song".

"To Whom Would You Answer"

My point is, when I raise the question of "the voice" within the lyrics, about who is saying these things, to whom, and in
what context, I'm saying that these, in concert with the way the song is constructed, create a tiny "universe" that
requires thought, attention, and care- all of which I find refreshing and challenging!

I "hear" Doug Harrison's music as an intensely absorbing example of these qualities. Musically, in "To Whom Would
You Answer", we hear the hushed, restrained voice issuing languid menace to the unidentified recipient, who is being
threatened with humiliation and perhaps liquidation. The wah-guitar tones suggest the ambiguity of the piece. The
gritty bass and pulsing drums in verse two highlight how Harrison uses tonal shift in subtle or obvious ways to drive
the music and the message. The octave vocals later also create menace and melancholy- Harrison clearly thinks
through every aspect and every line- and I wonder, as an old musician, how crazy he drives himself trying to get things
"right".

And to whom WILL you answer, especially if these self-same accusers paradoxically lionize you? Hang your face on the
wall?

"Back to the World"

A few noteworthy things about this track- it starts with a much lighter touch, and the listener is nearly relieved that the
ominous and dark tones of the album might be mitigated with some light and hope. We hear a lighter guitar line, clean
chords, melodic voice, clear guitar lead.

HOWEVER (listen up to the lyrics, dang it) the protagonist seems to be encountering a past love and finding a mix of
gladness at seeing her again, and shame for earlier not being there for her: "good seeing you out again/ on a day I
thought was ruined", and then, "I never did one drop for you/ just outta my hands ignored you" and, "you fought black
wind on a ledge/ I dropped my eyes/ and hung my head".

And this exquisite line, "you've come back to the world/ when I'm all but missing from my life?and I'm dressed like
some [%*!#] I don't like".

Similarly in "Burden of Life", we hear the hushed voice, the picked clean guitar, the fuller band sound enters with drum
and bass, becoming elegiac as the clean guitar lead sings- all of which concerns what sounds like a person on his/her
deathbed aware of being unaware, bearing the burden of life and wishing to drop it.

One of those passages made me think of my dad on his deathbed- after years of polio and later post-polio which
eventually rendered him nearly immobile, and the devastating lyrics, "you knew an end was coming to the/ steady roll
of your stride/ through golden beams falling from/ the sky/ you trampled down the doubt/ anyone could see in you
the hope to/ lose that trouble close behind".

My father did limp- gracefully- through golden beams falling from the sky, and was ready, oh, so ready to release the
burden of life, the trouble close behind.

Title Track

So, I feel like posting ALL the lyrics on this track, they're that revealing, and tough, and tender, explanatory, and
difficult.

Which is one reason "Cold In Cold Out" is my favorite song of this outstanding EP- that plus the way it begins with a
gentle classical guitar backing Harrison's most vulnerable vocals? then it grows, and grows, and builds.

Let these lyrics suffice: "The path is a tangle of flowers and thorns/ of those who would bleed you/ and those who
seem warm/ together you roam/ (CHORUS 1) and follow the light/ over the ground/ you ferry your bones/ all secretly
asking/ when can we put the load down?"

It struck me that the gorgeous full moon pictured is yet a reflection of the light of the sizzling sun, the life-giving sun.
The journey is not without light; still, it is a journey with one final destination.

The heart-wrenching chorus has three iterations, each more intense, building into almost unbearable loveliness and
tragedy, in which Mr. Harrison shows his incredible vocal range, and we hear some cool bass guitar work after chorus
two.

We also get some gutsy power chords as an exquisite counterpoint to the gentle classical guitar.

When can we put this load down? Cold in cold out.

No Healer

Time heals all wounds? Not this wound, no. Although I don't think of this EP as a single-concept album, it certainly has
congruent threads, and as the final track, this one leaves a rather dark energy trailing.

Although at first we hear, "no healer will come but the passage of time", later the narrator changes it to this: "no healer
will come through the passage of time." On this track there are suggestions of dissonance in the swirling electric guitar
passages, and the trippy lead guitar lines can seem almost dizzying.

I've noticed in Doug Harrison's music a deep tie with the natural world, suggesting that all are tied into one long cord
of life and death, living and dying. On "No Healer", we get the suggestion that the dying traveler becomes food and
fuel for other species- and in this way, perhaps, life goes on.

The light is shining, and the darkness does not comprehend it.

In Conclusion

In short order, Doug Harrison via his side project, SLUG COMPARISON, returns with this stellar EP, set to release
09/10/2026- because of its lyrical depth and musical ingenuity, I consider this an excellent addition to any progressive
rock collection.

ALBERTO RIGONI Dystopia (A Progressive Bass Journey) (Heavy Prog, 2026)

Thu, 6 Aug 2026 11:55:11 EST

Review by yarstruly — Clicked 4, but really a bit better at 4.25.

Let's call this one, back to "Bass-ics" as this album features three of the world's top bassists in a collaboration called
"Dystopia". Alberto Rigoni (Jeff Scott Soto, Jordan Rudess, Marco Minnemann, Gavin Harrison), Michael Manring
(Spastic Ink, Alex Skolnik/Skol Patrol, Attention Deficit, Steve Morse, Alex De Grassi, Will Ackerman and others) and
Stuart (Stu) Hamm (Steve Vai, Joe Satriani, Frank Gambale) are the bassists and they are augmented by drummers
Tim "Herb" Alexander (Primus) and David Menoudakis (Motion Device). Rigoni is the album's producer.

The album comes courtesy of the all-around awesome guy Nick Katona (the man has style!) and his label Melodic
Revolution Records (MMR). It was released on February 27, 2026. I look forward to reviewing more music released
by this label. As always, this is a cold listen, I receive no additional compensation, and I call it like I hear it. The only
frame of reference I have going into this is "Fish Out of Water" by the late, great Chris Squire, but this album is a
fully instrumental affair, so it should be interesting.

Without further ado, let's get down deep into it.

Track 1 - Genesis (4:26)

A moderately slow chordal pattern starts off the track, and a cool drum groove comes in with a polyrhythmic
pattern. At around 1 minute in, they lock into a groove. They are using some effects that make some of the bass
notes sound almost brass-like; very cool. The drums play some amazing fills. The groove changes at around 3:25. I
don't know which bassist is playing what, but there was a cool lead break near the ending. Great tune!

Track 2 - The Algorithm (3:16)

This begins with droning sounds, onto which a fretless bass plays an opening tune. So far there are no drums on
this and it is very atmospheric. I wonder if one or more of them is using a synth pickup module to create some of
these sounds. Nice soundscape track.

Track 3 - Entropia (3:55)

This one has a jazzy groove to it, with shifting meters. It's very proggy! Lots of great rhythms here. There is a
melodic hook. Cool bass and drum synchronicity at around 3:20 on a morse code rhythm. I like it!

Track 4 - Limbo (3:59)

This fades in with some foreboding sounds. No drums on this one. There is a sense of motion, however, caused by
the rhythms. One of the basses takes on a piano-like tone. There are some unique effects in the later part of the
track. Pretty interesting.

Track 5 - Solar (3:27)

I like the descending, chord-melody thing that they start with here. The drums are back in a big way here. I like the
changing melodies and grooves throughout this track. These guys are definitely among the best in the world and
are showing it on this track. Great drum solo after 3 minutes. One of my favorites from the album, I'd say!

Track 6 - Ethereal Horizon (2:34)

Bass harmonics are featured as this one begins. The synth-like tones are back; maybe a whammy pedal? They are
certainly re-defining what the bass can do here.

Track 7 - Dystopia (8:46)

The final/title track is the longest, so let's call it a closing epic. A rhythm pattern with drums is established quickly.
At around 1:30 one of the guys takes on a lead guitar type tone, which is later harmonized with another player; they
use a distortion effect. Following that, there is a really cool canon-like section with the three playing overlapping
tunes. Great drum grooves on this as well. They really take us through several grooves and moods. I love the
groove that kicks in at around the 5-minute mark. I like the slow harmonies as they approach the 7-minute mark;
gradually all 3 of them take part in the chords, and there are overdubs as well as it keeps building. It is a rich,
brassy tone they are creating. The bass can create many timbres and they show it here. The only thing missing for
me is a final punctuation for the ending, as it just kind of stopped. Otherwise, this is clearly the flag-ship track of
the album.

OVERALL IMPRESSIONS:

This is a fairly short album at around 31 minutes, perhaps we should call it an EP. Regardless, this is an entertaining
way to spend half an hour and see what three master-bassists (sorry, I'll go sit in the corner now?) can do. It was
an interesting experiment and yielded some cool results. I have no Idea whether they are planning to follow-up
with more releases, but it's worth checking out. I'll give this a respectable 4.25 out of 5, or 85%. Thanks again to
Nick Katona and MRR for providing me with this music for review. I expect there be more in the not-too-distant
future.

LOCANDA DELLE FATE Homo Homini Lupus (Rock Progressivo Italiano, 1999)

Thu, 6 Aug 2026 11:50:37 EST

Review by XixoTheRock — Locande delle fate is a band which I had not heard of until an acquaintance of mine recommended them
to me after chatting about prog and jazz for a while, evidently as I do, I postponed listening to
any of their records until I finished some pending ones, now I have listened to this record, "Homo
Homini Lupus" twice, and I'm eager to say the many things I think about this particular record,
which, are not very positive if I'm to be very honest.

I'd like to address that, I do not speak Italian, and while Spanish and Italian do share a ton of
grammar, words and common origin from latin, I did not fully understand the lyrics because of this
language barrier, judging by the overview I did indeed understand, this is a concept album, which is
apparent and obvious mainly by the track titles, despite this, I will not analyze the lyrical aspect
of the record any further since I'm not in a position to do so.

This record is quite different from your average RPI record in the sense that, it's not
grandiloquent, baroque, theatrical and Mediterranean sounding, I'd like to say that something that
makes a record great is sticking to it's cultural roots and sound while innovating and expanding
it's foundations...Homo Homini Lupus DOES NOT do that, it splits from the Italian roots that made
RPI great in the first place, and tries to mimic Anglo-Saxon rock and pop. The quality of the
compositions is very poor, the tracks are mostly bland and dull, nothing really fits completely, it
sits in an uncanny valley : trying to mimic someone else while trying to pretend you have not
abandoned your identity. The instruments are simple, just hour typical line up of some keys,
guitars, bass guitars and drums, sometimes less is more, but this is not the case, they feel
disconnected both musically and emotionally...almost as a watered down Alan Parsons project, which I
will asume was a big inspiration for Locanda delle fate's creative process.

Despite the musicians and singer being very talented, they still feel plain, they sound as if they
were not motivated, the singer's high pitched vocals are also unbearable most of the time, they try
being dramatic
..maybe they tried TOO hard, and too much of anything is never any good.

The production is also dull, not balanced, poorly equalized, inconsistent between tracks (which
worsens the fact that all songs, are almost the same in composition, and this production
inconsistency does not help at all), and the guitar tones are simply just too exaggerated.

For the quality this record has, it could have been 10 or 15 minutes shorter and no one would
complain really, it's a record that disappoints, specially since it is part of one of the best prog
sub genres...really, I wouldn't listen to it again, and I urge you that, if you want to listen to
any other record by Locanda delle fate, follow the advice of other reviewers and avoid this record,
go straight into their debut album.

ECHOES AND SIGNALS Singularity and Other Stories (Post Rock/Math rock, 2026)

Thu, 6 Aug 2026 03:26:10 EST

Review by alainPP — Echoes And Signals: a blend of techno-prog-math and experimental post-new-wave?or at least, that's how I like to
describe them.

"Simulacra" begins with a brooding atmosphere?wailing guitars and a melancholic sound blending post-rock,
math-rock, and crossover styles with a touch of Wilson-esque psychedelia. It's a musical treat to whet the appetite.
"Temporal Waves" shifts into dark electro, a monolithic cinematic soundscape weaving through danceable
electronics to create a contemplative mood. The guitar solo echoes Porcupine Tree, with notes bursting forth
alongside a great riff and an expansive shredding section reminiscent of Randy McStine, all leading into an outro
driven by an immersive looper effect. "Cloud Gallery" deepens the atmospheric, spacey sound; the vocals?
reminiscent of Radiohead or Eno?float over a backdrop of reverberating synths. A bewitching, groovy guitar
dialogue takes hold, leading to an explosive finale driven by a heavy riff and solemn, almost liturgical vocals.

"Evermore" features acoustic guitar and atmospheric spoken-word vocals, with radiant keyboards; there's a hint of
Barclay James Harvest in the mellow, sentimental vibe, while the western-style tones lend a space-psych lament
quality. "Singularity" is built on a moody electronic foundation, with accessible synths complementing the soft,
melodic guitar. A gradual build-up launches a smooth, captivating crescendo, with Fedor's vocals vibrating with a
nonchalant, reverent intensity. At the halfway mark, the musical momentum shifts?a "Berlin School" atmosphere
triggers an energetic detour, featuring a long, driving passage where Leo's presence is frantically felt. It concludes
with a robotic, vocoded finale set against chilling synths reminiscent of Tangerine Dream?truly surprising.

Echoes And Signals represents a philosophical-musical translation?a concept of opposites for an album that exists
in the space between, capturing fragments of a shifting reality. A sound that leans towards dark wave, electro, and
cinematic post-rock?echoes and signals indeed!

NATIONAL HEALTH National Health (Canterbury Scene, 1978)

Wed, 5 Aug 2026 19:53:28 EST

Review by Fercandio46 — With Phil Miller, Pip Pyle, Amanda Parsons, Jimmy Hastings, and the very architect of the Canterbury scene, Dave
Stewart, all members of Hatfield and the North, National Health was formed, joined by bassist Neil Murray, who
came from Colosseum II and would also work with Bill Bruford during the rehearsals for Feels Good to Me.

Right from the start with "Tenemos Roads," there is a distinct energy, stemming from a rhythm section (drums and
bass) that leans toward aggressive jazz-rock fusi]]>�postmodern air, further enhanced by Dave Stewart's keyboards. The jazz-rock turns psychedelic while incorporating
a funky groove that keeps things fresh; then Amanda Parsons enters, singing atonally, sounding forever ethereal,
like the soundtrack to a gateway into another dimension. Her style differs from how Annette Peacock might sound
with Bill Bruford's band, yet she also possesses a quality reminiscent of Sally Oldfield.

The music supports her, and subsequently, she supports the music, through both the up-tempo passages and the
moments where the action pauses and both the guitar and her voice explore high registers. The composition
elevates the piece beyond any single genre. That sense of confusi]]>�turbulent era, also translates into the music and forms an integral part of it.

Frank Zappa's One Size Fits All is another essential reference, as are all the bands Stewart was involved with, from
Arzachel and Egg, with their classical influences, to the power of Khan alongside Steve Hillage. "Brujo" reveals
another facet of the band, featuring Amanda Parsons channeling Annie Haslam; the action is driven simultaneously
by her vocals, bass, and keyboards, before shifting into jazz-style improvisation. This album is packed with music,
and it shows, as fleeting piano passages give way to keyboards played at breakneck speed that never cease to offer
up new melodies, delivering the best of a live concert experience within a studio setting.

One could say that the jazz-rock style of "Borogoves" is certainly obscure and intricate, perhaps akin to Brand X, yet
Dave Stewart plays the clavinet there, bringing back a funky feel, while Phil Miller's distorted guitar seems to weave
through the spaces left open for it. However, its follow-up, "Borogoves, Part One", moves away from those cited
references; once again, it is the composition itself that lends the piece its distinctive character and individuality.
There is a martial, existentialist quality to the music, heightened, of course, by Amanda Parsons' vocals.

Following an initial cacophony of keyboards, "Elephants" serves as a showcase for Phil Miller, before Dave Stewart
alternates with his own prowess on acoustic and electric piano, joined by Nick Levitt's synthesizers, delivering fusion
riffs that would not only set a precedent but define an era. Jazz-rock had never come so close to being orchestral
and symphonic, at least not within the sonic framework established by National Health on their debut, which was
rooted in the Canterbury compositional style.

THE SOFT MACHINE Bundles (Canterbury Scene, 1975)

Wed, 5 Aug 2026 19:53:20 EST

Review by Fercandio46 — There are many versions of Soft Machine, but only one Allan Holdsworth. There is the Soft Machine of Kevin Ayers,
the one with Robert Wyatt, the era featuring Mike Ratledge and Elton Dean, and the later period with Karl Jenkins.
Yet Holdsworth brought his signature sound to groups like Tony Williams' Lifetime and Nucleus, as well as later
projects such as U.K. and Bill Bruford's solo band. Which brings us to Bundles, where he would also share the bill
with bassist Roy Babbington, with whom he had worked on the 1972 Nucleus album Belladonna.

While the style of fusion they were developing was already becoming increasingly electrified, Holdsworth's arrival
brought powerful riffs that, combined with Mike Ratledge's synthesizers and organ, shaped the main suite, "Hazard
Profile." The guitar scales are underpinned by Roy Babbington's tireless bass and Rhodes piano notes that drift like
butterflies against the sky of 1975; the truly transcendent moment is the ensuing sequence, aided by the organ,
which turns Holdsworth's notes like the pages of a book, gathering layer upon layer of information. One page
features virtuosic guitar work that invites us to follow along; another presents piano and acoustic guitar in the
suite's second part, capturing the poetic spirit of the era; the fourth section is more intense, almost reminiscent of
Cream, save for the syncopated drum rhythm driving the tempo, setting the stage to accelerate into the fifth and
final movement, where Karl Jenkins enters on the saxophone.

After "Gone Sailing", a track with echoes of Ralph Towner, "Bundles" resumes the initial quest; the guitar navigates
curves and corners, venturing into every nook and cranny with clockwork precisi]]>�alarms and the bass serves as the second hand, tirelessly marking the relentless passage of time. The momentum
never falters, not even for Holdsworth as "Land of the Bag Snake" begins, since the tracks are seamlessly linked,
much like the flowers and privet hedge on the album cover, forming a unified whole where butterflies take flight;
"The Man Who Waved at Trains" then continues the journey, albeit at a slower, steady, jazz-infused pace.
Karl Jenkins and his oboe provided the missing touch, casting a spell over that timeless afternoon, an afternoon of
backyards, plants, and sunshine. Much like on the debut album, the tracks unfold like pages turned by the wind,
one after another; amidst this rhythm, Peff enters with keyboards and saxophone, conjuring a dreamlike,
otherworldly atmosphere. Where did the violence go? Where did this calm, reminiscent of an endless siesta, come
from? It returns through those same instruments, though momentarily clouded by the all-consuming, eternal
keyboard. Mike Ratledge and Karl Jenkins vie for the spotlight in the finale, a tour de force where neither truly wins,
for the real victor is Soft Machine. "The Floating World" serves as a sort of electronic elegy, a chance to catch one's
breath after a relentless journey, an experience that was far from wasted, however, for it undoubtedly leaves the
spirit feeling truly fulfilled.

BOARDS OF CANADA The Campfire Headphase (Prog Related, 2005)

Wed, 5 Aug 2026 18:55:28 EST

Review by Logan — A re-assessment of an underrated classic

While database purists argue that five-star ratings should be strictly rationed and balanced with low scores, I choose not to invest my time and energy listening to music I do not appreciate. Reviewing within my wheelhouse allows me to judge music with deep familiarity, evaluating not just what it seems to be, but what it actually aims to achieve. By giving an album the time and space to breathe across multiple listens, its deeper architecture eventually reveals itself. With The Campfire Headphase, that architecture reveals a wonderfully sound masterpiece.

To use a frequently dreaded but appropriate term, this album is sadly underrated by many within the electronic and progressive communities. RYM, I'm looking at you! When it debuted, critics paradoxically complained that it offered "nothing new" while penalising it for being "too different" from the cold, occult paranoia of Geogaddi. Sometimes an artist simply cannot win against herd mentality. This negative bandwagon effect is the same kind of injustice that was dealt to AIR when they abandoned the more breezy pop of Moon Safari to experiment with electronics on 10,000 Hz Legend. Sufjan Stevens also faced backlash with the glitchy Indietronica of Age of Adz after the huge success of Illinois despite his early glitch and noise period, and he had a 2010 EP that might have softened the dynamic blow.

Instead of regression, The Campfire Headphase is refreshingly unique in Boards of Canada's repertoire and satisfies my deep love for musical contrast. In fact it does have the DNA of earlier music such as the melancholic beauty of "Everything You Do Is a Balloon" and positions that in a greater infrastructure of electro-acoustic music utilising pitch-degraded acoustic guitars and creates a slightly faded tapestry due to exposure to the sunshine. -- a shiny tapestry of downtempo, psych, ambient and folktronica music. This music can be sunny indeed, breezy and warm, and like Boards of Canada music generally can be be very nostalgic. How iconoclastic it can be is dependent on your childhood and past and optimism. I feel that a bittersweet disposition might better appreciate the music, but so much of it so beautiful and puts a wistful smile on my face.

Boards of Canada may seem simple to some, certainly it does not have the virtuoso cheese whiz, fizz, bang, and dazzle of some other bands, but then those people might not be looking at harmonic language and sophisticated texturing. A million notes a minute might be hard to play and might seem impressive or impossible with whole notes but it does not make the music complex or rewarding on multiple listens.

There are standard folk progressions in this, often using major seventh and suspended chords, and the brothers run those through vintage tape machine, and a kind of unstable capstan, which leads to what is called 'wow-and-flutter pitch degradation' (a wavering detuned sound with fast speed changes, or what I would liken to boozy woozy music, the effect could make some a little seasick). The result is that makes these beautiful phrases sound slightly degraded and out of tune. That off-kilter effect adds to its otherworldly feel while also evoking a strong sense of nostalgia in me. They also use modal drift, fluently going from Lydian scales to Mixolydian. The music can have a floating in space feel. And I often favour music that moves from major to minor keys as this does for sense of the sunny and the sad, and places in between.

Structurally, the album presents a lovely arc where brief, ethereal transitions act as pastoral palate cleansers or deodorants depending on perspective, between the longer form epics. The opening vignette, "Into the Rainbow Vein", sets an immediate mood of tranquil, dawn-like awakening. This flows like honey into the early suite of "Chromakey Dreamcoat", "Satellite Anthem Icarus" (one of my early faves of BoC) and "Peacock Tail", which establishes the album's warm, organic fluidity,. Then we get the crowd-pleasing "Dayvan Cowboy" which has a massive, slow-rolling post-rock crescendo and soaring electric guitars.

After that the album become more introspective. 'A Moment of Clarity" pivots to the retro futuristic "84 Pontiac Dream" and the hazy and hypnotic "Sherbet Head", with its atmospheric loops. "Oscar See Through Red Eye", which deepens the mood, is highly rhythmic and "Ataronchronon" acts as a little interlude and a short time to reflect. "Hey Saturday Sun" works like warm psychedelia, and is pure delight for me.

'Constants Are Changing" is a wonderful little ditty to me, makes me feel good. It gets moodier and darker with "Slow This Bird Down'

Then we get to the last two tracks which prove to be major highlights of this album. "Tears From The Compound Eye" is gorgeous and "Farewell Fire" immediately brought to my mind Laura Palmer seeing the angel at the end of David Lynch's Fire Walk with Me. It's melancholic but also acts as relief. While it reminds me of Angelo Badalamenti's work for David Lynch, travelling through Boards of Canada is akin to travelling from the Waiting Room to the Black Lodge and to the White Lodge. There's something nostalgic, surrealistic and ephemeral about the world of Twin Peaks and Boards of Canada. That is a very delicate way to end an album.

By not going for flashy displays of virtuosity in favour of atmospheric depth, layered texturing and rich emotional contrast, Boards of Canada created a classic album that deserves to find its way into many more attuned ears. As a suggestion, open your ears, close your eyes, breathe in through your nose and out through your mouth, and let the music wash over you like a Niagara Falls dripping maple syrup, then come back to it with your analytical Mountie hat on.

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

Wed, 5 Aug 2026 11:29:51 EST

Review by yarstruly — This is simultaneously being posted to my blog, Scott's Song by Song Spotlights.

Clicked 5, but close at 4.5 stars! 4 is too low.

The Bardic Depths are a UK prog band led by multi-instrumentalist/composer Dave Bandana and American
Historian Brad Birzer (doing spoken word narratives) . It sprung from an earlier project that the two had entitled
Birzer Bandana. They released their eponymous first album in 2020. There were a number of notable guest
musicians such as Peter Jones (Camel/Tiger Moth Tales), Tim Gehrt (Streets, Steve Walsh Band), Gareth Cole (Fractal
Mirror) and Robin Armstrong (Cosmograf) who contributed to the album. Jones, Gehrt, and Cole are now official
members. Birzer is still a primary lyricist, but not listed as a band member. The second album came in 2022 with
"Promises of Hope", while the third album "What We Really Like in Stories' dropped in 2024. Today, I'll be checking
out the 4th album, "Some Things are Worth Remembering" which will be released this Friday, August 7, 2026. The
album came courtesy of Dave Bandana. I receive no additional compensation, and always call it like I hear it. As
usual, this is a cold listen.

Here is the line-up:

- Dave Bandana / vocals, keyboards, bass
- Peter Jones / vocals, clarinet, alto saxophone
- Gareth Cole / 12-string, electric & acoustic guitars, vocals
- Tim Gehrt / drums, vocals

Let's jump in!

Track 1 - Islands (8:37)

This begins with a rumbling sound and orchestral synths, joined by a clean guitar. The vocals begin soon after. The
opening vocals conclude with the album's title being quoted. A jaunty woodwind section plays a rhythmic pattern
soon joined by drums and bass. Just before the 3 minute point, the tempo increases, and soon after the music
becomes more intense. Killer lead guitar from Cole! After things come back down, Jones gives us a sax feature.
This section is jazzy, with Cole & Jones trading licks. Bandana provides a moving bass line and synth beds while
Gehrt keeps the beat lively. Vocals return after 5 minutes. The keyboard string tones sound like a mellotron. The
overall vibe is very dreamy and floaty. Great opening track!

Track 2 - Fallen Leaves (3:03)

This shorter track starts with acoustic guitar and sax. Beautiful wordless harmony vocals join in before long. Just
before the one-minute mark the rhythm section joins in. This is a great chill-out track; very calming and peaceful.
The playing and singing are wonderful. The production is rich and warm. Nice track!

Track 3 - Arribabok (5:29)

A guitar melody supported by keys starts things off here. Some percussion rhythms join in. The vocals come in
sounding intentionally distant with an effect. This has a "world music" feel to it; sort of African. The song slowly
evolves as it progresses. The instrumental parts take the bulk of the content here as the vocals have dropped out
for much of the middle section. They begin to fade back in during Jones' sax solo. This reminds me a bit of
something Peter Gabriel would do. The vocals take back over with effects still in place at the ending. Super cool
track.

Track 4 - October Sun (8:13)

A slow guitar melody supported by bass & keys kicks this one off. Vocals soon join in. Great harmonies just after
one minute. The beat kicks in at around 1:50. I like the bass fills. The vocal harmonies are the star here, though;
they really shimmer. I like the refrain that begins between 3:30-4:00 ? "Let it shine, let it shine, until the sun falls
from the sky!" At 5:15, there is an a cappella line, then an instrumental guitar break takes over with a great solo
from Cole. A wonderful sax solo from Jones follows. Harmonized guitar lines follow. The rhythm section is keeping
it bouncy. This one is going to be an ear worm! Fantastic track! Probably my favorite so far on the album.

Track 5 - From Empty Trees (4:41)

A big, dramatic synth-led intro commences activities here, and it gets even bigger after 15 seconds with a choir-like
sound. Beautifully done! At around 30 seconds, we get a funky riff that somehow reminds me of Lynyrd Skynyrd's
"Saturday Night Special" (never mentioned them in a prog review before!). Following that, though, the synth solo is
straight-up Camel influences, really cool! This is all over the place, but in a good way! The funky groove returns for
a fusion-esque guitar solo from Cole. This is shaping up to be an awesome instrumental track! I love it; another
favorite track contender. Great dynamics!

Track 6 - A View (6:17)

This one starts with a mystical vibe. At about 25 seconds though, a strong 6-8 shuffle takes over. There are some
meter shifts as the vocals enter and proceed through the first verse. The mellotron tones remind me of the Moody
Blues; as in "The Other Side Of Life" mixed with their 70s mellotron sound. Jones' sax solo kicks off with a fabulous
high note. Cole briefly takes over on guitar at 4:00. I love the vocals around 5:40! Another terrific track!

Track 7 - Harder to See (4:10)

This one is also in 6-8 but has a very different feel from "A View" . I believe Bandana is the lead singer. He
sometimes reminds me of John Wetton or even a bit of former Genesis singer Ray Wilson on "Calling All Stations"; I
like it! I love the guitar and keyboard lines in the instrumental break. This may be where Jones plays the clarinet.
Cool track, very jazzy.

Track 8 - Rewind (9:21)

This is the longest track on the album so I will call it the closing epic. A gentle piano and acoustic 12-string support
the vocals as the song begins. Wonderful harmonies enter at about 35 seconds. The lyrics wish that the narrator
could "rewind his brain". This reminds me a little of Spock's Beard's "June" from a vocal standpoint. Nice guitar solo
from Cole after the 3-minute mark. I like the call and response vocal section following the instrumental break. The
music completely changes at around the 5 minute point. It becomes dreamy and floaty. Flute is not listed for
Jones, but I believe he is playing it here. There are many layers to the soundscape here. Vocals begin to re-emerge
at around the 8-minute point saying "Rewind" in harmony. This is a very mellow, ethereal ending to this wonderful
album.

OVERALL IMPRESSIONS:

Wow, 2026! What a year in prog. Here's another one that should be in the conversation as one of the finest prog
albums in 2026. The production is impeccable, and the arrangements are beautiful. This is more on the mellow,
pastoral side of prog, but it still has some rocking moments. I highly recommend to fans of Camel, and The Moody
Blues. I give this a 4.5 out of 5 stars.

DOMI AND JD BECK Who Asked? (Jazz Rock/Fusion, 2026)

Wed, 5 Aug 2026 06:52:05 EST

Review by Grumpyprogfan — The second release by Domi and JD is out, and oh my, it's weird. There is no doubt that they are talented
musicians, but the compositions are lacking, for me, on this release. However, I do enjoy "Concertino" (best
tune), "Epilogue", and most of "Lovely Masquerade." As for the sonics...The drums sound like JD is hitting shoe
boxes with his hands. Overhead, like a fort, the boxes are surrounded with packing blankets and one mic is
outside the blankets recording his performance. Then, he runs that take through a cheap distortion pedal.
These are the worst sounding attempt at recording drums I've ever heard! Why? It is very fatiguing on the ears.
The music is a combo of EDM, hip-hop, with jazzy and classical bits thrown in. Most songs are at the same
tempo and they all sound similar. There is no verse or chorus to be found, just a spewing of free music mixed
with cosmic dust, and lots of layered processed vocals. I don't get it. Definitely different, but not for me. I
enjoyed their debut more.

SPHEROE Primadonna (Jazz Rock/Fusion, 1978)

Wed, 5 Aug 2026 06:38:24 EST

Review by SSL1967 — With "Primadonna", recorded in 1978, their second and ultimately final album, Spheroe delivered one of the most accomplished hidden treasures of the French jazz-rock scene. Building upon their very good 1977 debut, the quartet sounds even more confident here, combining formidable musicianship with compositions that are intricate without ever sacrificing melody, groove or sheer listening pleasure.

The band's greatest strength is its extraordinary interplay. Michel Perez's fluid, lyrical guitar constantly converses with G]]>�
The magnificent "Arlecchino" is the album's centerpiece, nearly eight minutes of sophisticated fusion in which the melodic invention, rhythmic dexterity and instrumental dialogue of the band reach their peak. The title track is equally essential, balancing atmospheric delicacy with passages reminiscent of Brand X, while "Jeff" provides another superb demonstration of the group's elegant, highly melodic jazz-rock vocabulary.

Although Spheroe disappeared shortly afterwards, "Primadonna" ensured their legacy. Alongside groups such as Zao and Cortex, Spheroe demonstrated that the French fusion scene could rival its British and American counterparts in technique, imagination and personality. An essential European jazz-rock album?and a fitting, frustratingly premature finale to a remarkable band.

HAWKWIND Hawkwind (Psychedelic/Space Rock, 1970)

Tue, 4 Aug 2026 19:42:57 EST

Review by Fercandio46 — A debut album often fails to fully reflect the potential a band will eventually reach, yet it does set a certain tone.
Although Hawkwind was an English band, on "Hurry On Sundown" they sounded every bit as bluesy as American
groups or even early Krautrock bands. Dave Brock played both guitar and harm]]>�associated with the blues, evoking a distinctly American or German sound.

By the time "The Reason Is?" begins, it is a different story... psychedelia and experimentation gain ground. It serves as
an introduction to "Be Yourself", a track where Krautrock asserts itself, much like with so many British bands of the
early 70s. They sound rough and raw; the songwriting is still developing, yet this is compensated for by an eagerness
to play... to see where the music leads and, quite simply, to let themselves be carried away.

When Nik Turner, the group's other key figure, enters with his saxophone, the missing piece falls into place. Hawkwind
then takes on the yellow of the desert and the red of the sunset, the color of distorted guitar and the endless
drumming that kicks off a ritual destined to last for years... a ritual that the wind would carry to all those willing to
listen.

Compared to better-crafted tracks like "Be Yourself," "Paranoia" (Parts 1 and 2) feels like a sketch, a work-in-progress
demo with interesting ideas that still need polishing; there is a touch of the madness found in Van der Graaf
Generator's H To He, Who Am The Only One. Michael "DikMik" Davies' electronic effects truly made a difference on
"Seeing It As You Really Are," launching the track into a journey with no fixed destination... yet, fortunately, the bass,
guitar, and saxophone wove together a certain musical coherence that brought order to the chaos. After all, not all
chaos is art.

"Mirror of Illusion" is a little gem that begins with a slightly off-key sound, a brilliant touch, before settling into a 1960s
British pop atmosphere with echoes of early Pink Floyd. It then transitions into a somewhat cosmic jam session
reminiscent of the Grateful Dead, while the vocals brought to mind the early solo work of Steve Hillage.
And so it fades out... accompanied by an echo and stereo maracas that foreshadow the ceremonies to unfold within
this established setting, a landscape spanning various countries and continents that ultimately served to define the
band itself.

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

Tue, 4 Aug 2026 19:42:09 EST

Review by Logan — Blue Morpho from Radiohead founder and guitarist Ed O'Brien has been a major grower for me. When I
first heard it over a month ago, it was roughly a 3.89 star album for me. The first more peaceful
half appealed much more to me than the more upbeat later tracks, but I came to love the whole thing
and how eclectic it is. I was considering giving it a very strong four stars (more like a 4.45)
when I was getting ready to review it, but after several more spins today (now about ten total,
it's quite a short album by my 90s up standards) I feel like it really revealed itself for the
masterpiece that it is, and it is an album that I know will continue to appeal to me.

I am a big fan of Radiohead, and the album A Moon Shaped Pool is what made me a big fan of
Radiohead, and that Radiohead album does remind me of Blue Morpho. I also am a fan of The Smile,
rate it highly, and it has some of my very favourite Radiohead related music such as "Bending
Hectic" and "Pana-Vision", but Mr. O'Brien's album exceeds The Smile's albums for me. It feels more
spiritual in a sense, warm, down-to-earth and like it has more of a heart.

The first track, "Incantations", was love at first listen. The folk qualities remind me of Nick
Drake, who is one of my very favourite artists, with Pink Moon. It also is hypnotic, quite
psychedelic, and brings to my mind Popol Vuh with a spiritual eastern vibe (think David Bowe's
"Blackstar"). I love the acoustic pasterns and background vocals in this.

The second track "Blue Morpho" immediately became one of my top tracks of the year. This is
gorgeous! The gentle acoustics and swirling strings are bliss. Again I get Nick Drake qualities
from this, but this time more the lushness and fragile beauty of the debut album. It also brings to
my mind music from the amazing Third by Portishead.

"Sweet Spot" also really hits the spot, and again I mention Nick Drake. In fact it is the most Nick
Drake of any of any of the tracks. It reminds me of "Fruit Tree" and has a similar kind of fragile
melancholy. So beautiful. It rather reminds me of some of the most beautiful music from later AIR.
And then the violin melody is reminiscent of the piano in Westworld music composed by Ramin Djawadi.

With "Teachers" the music moves more from Psychedelic Folk to Psychedelic Rock and Krautrock. It
has a very motorik rhythm a la NEU! and especially reminds me of Can with music like "Vitamin C".
"Teachers" is quite funky and has experimental electronic qualities. It offers a big sonic release,
and it offers contrast with earlier music.

With "Solfeggio" we are into ambient territory, like this could be released by WARP records, and I
love the respite offered by this dreamy atmospheric music. It brings to mind Kosmische Musik,
Cluster and Brian Eno and it brings to my mind Oneohtrix Point Never's tape manipulations.

We then have another ambient track with "Thin Places". This has a haunting dreamy quality. It's
very ethereal. Shabaka Hutchings flute stylings make this short ambient track.

"Obrigado" is a wonderful uplifting closer, and with much contrast in different parts. The first
part brings to my mind some of the ebullience of Fishmans dub ("Thank You"), and then it starts to
move in a Funkadelic "Maggot Brain" direction. This, the longest track, and sprawling though it is,
id such a perfect track, kind of in a similar way that Sufjan Steven's "Impossible Soul" is while
sounding more Stevens' "Djohariah" than that due to similar "Maggot Brain" parallels. Quite Stevens
2010 I might say. The guitar has a soulful bluesy quality that I love.

This grower album definitely has reached five star album status for me over time and spins and is my
favourite album so far this year along with Boards of Canada's Inferno. Its atmospheric blend of
Folk, Krautrock, funky music and Post-Rock is perfect for my tastes, and this has become my
favourite Radiohead related release. While O"Brien was named one of the greatest guitarists of all
time by Rolling Stone, this is not music I would recommend to guitar hero types. This is more
focused on nuanced soundscapes, and atmospheric and textural depth.

I am proud to have brought this album to this site, and I expect it to continue to rank very highly
on my list.

DAVID AXELROD The Auction (Crossover Prog, 1972)

Tue, 4 Aug 2026 14:49:32 EST

Review by BrufordFreak — David has moved from Biblical themes (Earth Rot and his interpretation of Handel's Messiah) to a forceful Broadway-
like production about the plight of the African-American slave. David has also moved from Capitol Records to MCA.

1. "Oh! Freedom" (1:20) David's personal rendering (with the help of Billie Barnum's chorus) of a traditional Black
spiritual of the most powerful kind. The arrangement is totally a cappella with feeling as much of being outdoors (like
an in-the-fields spiritual) as it is that of a church performance by a Baptist Gospel choir. Wow! (Apparently this version
of the song was the one used in the soundtrack of the television mini-series of Arthur Haley's Roots.) (4.75/5)

2. "The Auction" (6:43) after opening with a bluesy BB King-like guitar intro, the band enters and settles into a very
funky motif over which the guitarist continues for a bit before the voice of Fleming Smith enters with the support of
"ah-oo" vocals from a full choir in his background, Fleming narrating the somber and horrific event of a slave auction.
The guitars, bass, horn section, and lead saxophone continue on high funk trajectory as a singular female singer and
full choir present lines about the scene between Fleming's narrative sections. The lead sax, lead guitar, and wah-wah
and rhythm guitars are awesome in here as James Hughart's bass just slays it throughout. My only complaint would be
not being able to always clearly distinguish the words being sung by the choir. (9.5/10)

3. "Sympathy" (5:43) vocal soloist Jessica Smith (The Ikettes, The Mirettes) sings an emotionally-powerful plaintive vocal
over some beautiful ballad-like supporting smooth jazz. These are great blues performances with a lovely capture of
the feel (and acoustics) of a back-woods shack in the swampy South. Great support from the band and orchestra--
especially from James Hughart's double bass, Ernie Watts' flute, and Joe Sample's electric piano. I love the use of Maya
Angelou's "I know why the caged bird sings" reference in the lyrics. With a performance like this it is surprising to me
that the world has not really ever heard of Ms. Jessica Smith. (9.25/10)

4. "Freedom" (4:29) a female choir dirges over funky-bluesy electric piano-led music. The guitar solo in the second and
third minutes is jazz-bluesy in a kind of BB King way. A male choir enters in the third minute to put in their two cents
worth before a saxophone solo takes over (Ernie Watts?). Joe Sample is quite active and good throughout this though
mostly beneath the action on top. A turn-taking male-female, solo and choir conversational "dialogue" supercedes the
music in the final minute. A song that oozes passion and suffering. (9.25/10)

5. "The Leading Citizen" (5:08) a very funky mostly-instrumental jam which is peppered with choral discourse (between
the male and female choirs) before coming into instrumental sections presenting guitar and sax solos over the
constant, insistent, hard-driving music. Though an excellent funk groove with great musicianship and pace, there is
something lacking in the variety/variation department and melody. (Perhaps it has to do with the monotony of the
hard-driving music and male-only choir singing about the white master.) Some amazing bass, drums, percussion, and
wah-wah electric guitar (probably by Motown god, David T. Walker). (9/10)

6. "The Debt" (4:19) a piano jazz combo sounds like it's playing inside an old Southern back-woods juke joint as a
Alexander St. Charles (pseudonym for Benard Ighner) sings in a Joe Williams-like baritone. What a cool, time-capturing
performance and piece! (9/10)

7. "Be Proud-My Race" (4:43) this piano and horns-dominated jazz-funk piece sounds more like an Off-Broadway
moral-religious piece (like Godspell or Jesus Christ Superstar) as the full choir (and I mean full) belts out the full and
constant lyrics--which are, apparently, a full-text rendering of the lyrics as adapted from Paul Laurence Dunbar's poem
"Ode to Ethiopia," which were first published in 1905. Every time I've listened to this I find myself weeping
uncontrollably by the second verse. The one personal criticism/adaptation that I make are with regards to the electric
guitar and sax flourishes made between verses: they feel totally superfluous and unnecessary, even discourteous, and
2) the fact that the song only covers the first five of the poem's ten verses.

"Ode to Ethiopia / Compensation"

O Mother Race! to thee I bring
This pledge of faith unwavering,
This tribute to thy glory.
I know the pangs which thou didst feel,
When Slavery crushed thee with its heel,
With thy dear blood all gory.

Sad days were those ? ah, sad indeed!
But through the land the fruitful seed
of better times was growing.
The plant of freedom upward sprung,
And spred its leaves so fresh and young?
Its blossoms now are blowing.

On every hand in this fair land,
Proud Ethiope's swarthy children stand
Beside their fairer neighbour;
The forests flee before their stroke,
Their hammers ring their forges smoke,
They sit in honest labour.

They tread the fields where honour calls;
Their voices sound through senate halls
In majesty and power.
To right they cling; the hymns they sing
Up to the skies in beauty ring,
And bolder grow each hour.

Be proud, my race, in mind and soul;
Thy name is writ on Glory's scroll
In characters of fire.
High 'mid the clouds of Fame's bright sky
Thy banner's blazoned folds now fly,
And truth shall lift them higher.

Thou hast the right to noble pride,
Whose spotless robes were purified
By blood's severe baptism.
Upon thy brow the cross was laid,
And labour's painful sweat-beads made
A consecrating chrism.

No other race, or white or black,
When bound as thou wert, to the rack,
So seldom stooped to grieving;
No other race, when free again,
Forgot the past and proved them men
So noble in forgiving.

Go on and up! Our souls and eyes
Shall follow thy continuous rise;
Our ears shall list thy story
From bards who from thy root shall spring,
and proudly tune their lyres to sing
Of Ethiopia's glory.

Because I had loved so deeply,
Because I had loved so long,
God in His great compassion
Gave me the gift of song.

Because I have loved so vainly,
And sung with such faltering [breath],
The Master in infinite mercy
Offers the boon of Death.

Text Authorship: by Paul Laurence Dunbar (1872 - 1906), "Ode to Ethiopia"

I do not know why David Axelrod always bulldozed his way into public controversy (the death of his mother at age
eight, the many traumatic events he encountered on the streets of lower-class Los Angeles, his youthful career as a
successful boxer, his own struggles with addiction) but I so admire his fearless willful expression of empathy and
public attention for the causes of the disenfranchised, downtrodden, and marginalized. (9.5/10)

8. "Oh! Freedom" (0:34)

Total time: 32:59

A-/five stars; marked down for brevity this is still a very powerful piece of music--one that begs for recognition for its
historical significance as well as for its fine composition, rendering, and performances.

AVENGED SEVENFOLD Statica (Progressive Metal, 2026)

Tue, 4 Aug 2026 14:46:40 EST

Review by arcane-beautiful — STATICA by Avenged Sevenfold is an interesting experiment that possibly may be a teaser for a new album or
some sort of overall conceptual piece. Having dealt with scientific and philosophical themes on their last 2
albums, this seems to be a critique on AI music, especially with the overall presentation of the lyrics. While
musically this is very different from what they normally present, there is some nice guitar playing. The autotune
is annoying, but it is overall part of the supposed concept. But this isn't what I look for in this band, but I guess I
commend their daring and enthusiasm. I'd give this a low to mid 6 out of 10. The track I'd recommend is ASHES.

HADAL SHERPA Mountains (Psychedelic/Space Rock, 2026)

Tue, 4 Aug 2026 13:58:59 EST

Review by Matti — - The First Review -
Following Memoria that was released in early 2026, this fourth album of the Finnish Psych/Space Rock group
HADAL SHERPA is the second posthumous work, ie. recorded between 2021-2025 under the leadership of
multi-instrumentalist and composer Vesa Pasanen (1982 - July 2025). In my review for Memoria I said it to be
their best album, but this time around I cannot feel equally positive. Except for Vesa's cover art which is much
better than on the two preceding albums. Musically, however, the band doesn't much show progress or fresh
ideas. They firmly operate within the familiar formula of riff-based instrumental space rock with some Eastern
nuances, thus falling into the subgenre's major trap of sounding the same as before.

The 38-minute album has seven tracks. 'Camel on Moon' (no use exoecting allusions to the certain British prog
classic) has a rich soundscape even if the composition is pretty predictable. Indeed Hadal Sherpa's strength
definitely isn't versatility in song structures but in the fine details of arrangements, but that justifies things only
to a certain degree, and the band doesn't bring anything new to the table in that sense either. The next three
rather fast pieces feel all the same as they are built on powerful riffs and do not contain notable variety in the
tempo.

Within the very first slow seconds of 'Return to Farum Azul' I felt happily relieved: finally a track completely
different from the others! This dreamy, atmosperic piece may not be progressive enough to be the finest
compositions in the band's catalogue, but it easily is the highlight of this album. Pi Viana's wordless chant is a
nice addition. 'Mountains' has some beautiful flute from Pi, and there's something charming in its relatively
laid-back atmosphere. I came to think of spaghetti westerns even if the music doesn't resemble Morricone's.

The seventh track 'Gurbet' is composed by ]]>�good work covering this undoubtedly Turkish tune. Piirpauke comes to my mind for the groovy spirit. All in all
the happy surprise are quite scarce on this album. Perhaps it had already come to the point of scraping the
bottom of the barrel, to construct another full album from the posthumous recordings? In any case, this
release was (at least for me) totally unexpected. The band has said they won't be making new music without
their deceased primus motor. For fans and friends, naturally it was a happy surprise nevertheless.

COMPASSIONIZER A Tribute To Depeche Mode (RIO/Avant-Prog, 2025)

Tue, 4 Aug 2026 08:54:57 EST

Review by blessed_of — Compassionizer tribute to Depeche Mode is a sincere and beautifully crafted homage that captures the
emotional depth and melodic power of the original songs, while reimagining them through the band's
unique avant-prog and ambient sensibility. Instead of simply reproducing familiar material, Compassionizer
opens new dimensions?experimenting with texture, rhythm, and atmosphere to make each piece feel
newly discovered. "But Not Tonight" opens the album with a warm, dreamy atmosphere. Where Depeche
Mode's version glows with youthful melancholy, Compassionizer transforms it into a reflective meditation.
"World Full of Nothing" and "The Things You Said" follow with chamber-like arrangements and subtle
electronics, preserving the emotional fragility of the originals while reframing them through the band's
layered and expressive sound. "Blue Dress" maintains the sensual minimalism of Depeche Mode but
becomes more introspective and ethereal, while "Sibeling" expands into a sweeping ambient dialogue
between piano, clarinet, and electronic textures. The closing "Enjoy the Silence" stands not as a cover but
as a reimagining?slower, sacred, and contemplative. Where Depeche Mode's originals thrive on sleek synth-
pop precision, Compassionizer adds warmth, introspection, and organic depth, creating not imitation but
an honest conversation across time and genres. A beautiful, thoughtful, and deeply moving album.

COMPASSIONIZER The Fellowship of the Mystery (RIO/Avant-Prog, 2024)

Tue, 4 Aug 2026 08:53:26 EST

Review by blessed_of — This seven-track masterpiece has become a personal favorite, with its rich musical depth and immersive
atmosphere. Two tracks, in particular, have made a lasting impression: "I Feel Shine of the Day" and "For
the Invisible Things." These compositions stand out not only for their intricate arrangements but also for
their ability to evoke powerful emotions and introspective moments. The album, as a whole, feels like an
intricate journey, crafted with immense care and dedication. It's clear that Compassionizer has invested a
great deal of effort, resources, and time into creating this project. From the very first note to the final
soundscape, you can sense the precision and intentionality behind each element. The group's ability to
weave together diverse sounds and moods is truly remarkable, giving each track its own unique character
while maintaining a cohesive narrative throughout. One of the most striking aspects of "The Fellowship of
the Mystery" is the band's ongoing evolution. With every album, Compassionizer continues to refine and
expand their sound, pushing boundaries and experimenting with new ideas. Their growth as artists is
evident in this latest release, which feels like a natural progression from their previous work while also
introducing fresh and innovative elements. The compositions are more layered, the instrumentation more
dynamic, and the emotional resonance even deeper than before. What I particularly love about this album
is its ability to transport the listener into different emotional states. "I Feel Shine of the Day" is a radiant,
uplifting track that seems to encapsulate the essence of hope and light, while "For the Invisible Things" taps
into more subtle, introspective emotions. The contrast between these two pieces, and the way the album
shifts between moods, keeps the listener engaged and constantly discovering new layers of meaning. The
production quality of the album is another highlight. Every sound feels meticulously placed, creating a
soundscape that is both immersive and expansive. The textures and tones are rich, creating a listening
experience that feels almost cinematic in scope. There's a sense of space and atmosphere that envelops
the listener, making the music feel alive and breathing. In conclusion, "The Fellowship of the Mystery" is a
testament to Compassionizer's artistry and their ability to create music that resonates on multiple levels.
It's an album that rewards repeated listens, with each playthrough revealing new details and emotions. The
band's commitment to their craft is palpable, and it's exciting to see where they will go from here as they
continue to evolve and refine their sound. This is a must-listen for anyone who appreciates deep,
thoughtful, and emotionally charged music.

MENTAL ARCHITECTS Celebrations (Post Rock/Math rock, 2012)

Tue, 4 Aug 2026 08:44:47 EST

Review by A Crimson Mellotron — Mental Architects are a very interesting math rock band from Bulgaria, that is unfortunately no
longer active. The trio consisting of Tony Velev (guitars), Nikki Ranguelov (bass), and Max
Stoimenov (drums) tackles a rhythmically complex style that is simultaneously melodic, light-
hearted, and digestible. Unlike many contemporary names in the math rock scene, MA have the peculiar
tendency to write fun and catchy sophisticated music, as you will often hear neat riffs and grooved-
out chords on their 2012 studio album 'Celebrations', which is officially their third outing. There
is an ostensible yet subtle post-rock aftertaste all over this record, but definitely not in the
form of otherworldly crescendos or extended solos. The album is pretty playful and energetic, and to
my ears, one of the few math rock collections that could make you want to... dance?

Why not; after all this is a celebratory album that impresses with a vast and flourishing guitar
sound, often enough relying on multiple lines working around each other (this is a strong studio
project, above all), while the bass guitar and the drums, as tasty as they are, remain less
prominent, or even a little restrained, if you will. Had the band been more fusion-oriented, the
rhythm section could have been more unconventional and more prone to experimentation, but Mental
Architects' music is incredibly enjoyable, nonetheless. The compositions that certainly impress me
on this album are 'Spell Shelter', 'Here Is Where, Where Better' (respectively the first and second
tracks), the 7-minute-long 'Caves of Keys', which is mesmerizing, and the song called 'Meth-Rock',
which appears towards the end of the album. There is a joyous warmth to the music on 'Celebrations',
which will appeal to many listeners, but that album cover... it's just alright.

DELIRIUM Sesta Strada Lungo il Tempo (Rock Progressivo Italiano, 2026)

Tue, 4 Aug 2026 08:03:25 EST

Review by Agnenrecords — Delirium's sixth studio album Sesta strada lungo il tempo (Sixth Road Through Time) was released in May this year,
with a line-up similar to that responsible for 2015's L'Era della Menzogna, Enrico Tixi replacing drummer Alfredo
Vandresi. It's not a concept album but references to the band's previous output, snapshots of time, characters and
places, all create a series of linked stories embellished with a sense of Liguria and the sea.
Opening with a multipart side-long track Schiavo della vilt]]>�full-on prog mode. The piece concerns itself with the morals of warfare through a protagonist who witnesses, and
takes part in the horrors of war, knowing the acts are evil but is unable to speak out against them out of fear for
what would happen to him. He reflects on leaving his lover behind as he sets off for war, and on the futility of
conflict, the lives lost, never to dream, love or be free again. He finds his deeds shameful while his fellow soldiers
seem to revel in the bloodshed in the name of the national flag. Musically, it fits together really well; different
moods correspond to different sections and the lyrics, which recall Tremori antichi (from Lo scemo e il villaggio), are
delivered with Corvaglia's dramatic vocals.

Io clochard (I'm a Homeless Person) begins 'beyond the snow', blood-stained snow having featured in Schiavo della
vilt]]>�that still tastes good, an indication that the perceived tribulations aren't unbearable. He's got his dog as a
companion, time to rest and reflect, and a destination: the sea. The music primarily consists of a dense repeated
phrase with a bubbly bass adding some colour, overlain with short saxophone breaks and a brief guitar solo, and
guest vocalist Alice Vigo repeats the final verse in French.

Il riposo del pirata (The Pirate's Rest) begins with ambient seashore sounds. Electric piano is employed in a rhythmic
context, and saxophone and synthesizer weave around the vocal melody describing an old pirate in an old
hammock, cradling a tankard of rum and listening to a song he can hear on the wind. Martial music indicates the
final rest of the pirate and there'll be no more looting of treasure. The voices of the pirate crew can be discerned
underneath Corvaglia's announcement, speaking in English: "I don't know what to do" and "I've had enough of this".
Short organ sax and solos precede the final spoken verse, describing the crew celebrating the valour of the pirate
on the sand where the waves bring in light foam reminiscent of freshly poured beer.

Della strada il ritorno (On the Road Back) is a jazzy instrumental, beginning with string bass and piano. The piece
has a real swing and there's a pleasing rhythmic complexity with Grice's saxophone soloing over the drums, bass
and piano. A series of solos, energetic guitar, slower paced bass, flute, piano and sax complete the tune.

Parole nel vento (Words in the Wind) has a fairly straightforward opening, before a flute riff, backed by hard
rhythmic intervals, leads the song into Jethro Tull-like territory. I'm reminded of Corvaglia's track Il cerchio del
comando on S.E.I. by La Maschera di Cera, which I've previously described as being like a Delirium song. Vigo shines
on a lead synthesizer line that could have been performed by Keith Emerson, and following the last two vocal lines
the band indulge in a blues blow out until the end of the song. While the lyrical content seems to reference both Il
nome del vento ("The words thrown into the wind, who will listen?") and L'Era della Menzogna ("An ageless story
made of a few lies and illusions mixed with fake freedom"), the track feels like it's pulling the strands of the four
preceding stories together, creating a perfect ending.

The whole album makes an enjoyable listen. It's well-crafted with a very high standard musicianship and
production, expertly blending a distinct feel of past Delirium albums with an updated sound.
Highly recommended.

(This review originally appeared as part of a Delirium band history/album review on progblog.co.uk)

DAVID AXELROD The Edge: David Axelrod At Capitol Records 1966-1970 (Crossover Prog, 2005)

Tue, 4 Aug 2026 07:30:57 EST

Review by BrufordFreak — A retrospective that deserves the attention and respect that its subject, David "Axe" Axelrod does. The only problem I have with this album is the glaring omission of his work with Julian "Cannonball" Adderley ("Mercy, Mercy, Mercy"!), the absence of anything from the two albums Capitol Records commissioned David to produce (and compose music for) by the "failing" Electric Prunes--two albums that are now recognized as leading lights of the 1960s Psychedelic era of music (and culture). Otherwise I am very happy with the attempt to raise consciousness of Axe's significant contributions to pop, jazz, and funk musics. A book should be written about this passionate, haunted, and fearless man--a true champion and loud advocate of human rights, civil rights, and care and attention to the wronged, down-trodden, dispossessed, oppressed, and marginalized.

I also love the fact that there are songs of David's presented here that I'd never heard before. It could have been a double or triple album!

STEVE HOWE Beginnings (Crossover Prog, 1975)

Tue, 4 Aug 2026 03:33:56 EST

Review by ken_scrbrgh — There is an irony that I am considering Steve Howe's, "Beginnings," after ruminating over the four other Yes'
solo albums released in 1975-1976: Howe's was the first to make its premiere.

"Authentic" is the adjective I would like to employ in pondering this album almost fifty-one years after its
emergence.

"Yesfreak" that I was back then and now, I must admit that, unlike Chris Squire's, "Fish Out of Water," I was
not drawn to "Beginnings." In truth, for many years, I was seriously familiar only with Squire's album. Only
since 2023, have I thoroughly come to appreciate Anderson, White, and Moraz' efforts.

I would venture Howe's record emerged first in 1975 as the result of the solo work he maintained parallel
to his work with Yes. I have to speculate that during the conception and initial execution of the pieces
destined to yield "Beginnings," Howe chose to sing the lead vocals. Perhaps, then, as a matter of economy
and facilitation, he opted to retain his lead vocal performances?

If we consider 2023's, "Mirror to the Sky" and this year's, "Aurora," we encounter "successful" lead vocals
from Howe on, "Unknown Place" and "Countermovement." Surely, though, in the mid-Seventies, Howe's
lead vocals on his first solo album attenuated attention given to this effort.

Then and now this lack of interest is unfortunate. As a generalization, "Beginnings'" compositions,
instrumentality, and lyrics are effective; the poem "Doors of Sleep" by Alice Meynell sets the stage for the
entire album. On "Doors of Sleep" and "Lost Symphony," the vocals are fine. With White at the drums,
Howe performs all other instruments on the album opener.

Perhaps the direct means of appreciating Howe's first album lies in the instrumentals "Beginnings" and
"Nature of the Sea." With orchestration by Patrick Moraz, "Beginnings" certainly draws upon the
"symphonic" in "prog." I would also add "chamber" and "neo-Baroque." One might consider "Beginnings" to
be Howe's "answer" to the chamber orchestra on "Time and a Word." Through this piece, Howe displays his
studied approach to classical guitar and to the use of the volume pedal.

Although not orchestral, "The Nature of the Sea," gives us further insight into the compositional character
of Steve Howe's imagination in the mid-Seventies. With an ensemble of players found only on this album's
song (Malcolm Bennett, bass, David Oberle, drums, and Graeme Taylor, guitar), Howe exemplifies the "ebb
and flow" of an ocean, rendering a microcosm of "Tales from the Topographic Oceans."

Considering "Will 'O' The Wisp," one can visualize Howe, Moraz, and White in the studio contemporaneously
with "Relayer" or shortly thereafter. With Moraz' mellotron, Howe parallels the ephemeral character of
love's relationships with the paranormal, "Will 'O' The Wisp."

Perhaps "Lost Symphony" is the truly solid, single piece on "Beginnings." Here, we venture into jazz with the
saxophone and productive lead vocals by Howe. As with "Will 'O' The Wisp," Moraz and White support.

"Beginnings" provides us with an authentic window into the creative mind of Steve Howe in the mid-
Seventies. For those of us who have been given the "gift of time," we can perceive the origins of the
narrative of Howe's musical journey.

DREAM THEATER Images and Words (Progressive Metal, 1992)

Mon, 3 Aug 2026 23:22:12 EST

Review by Atri Isla — Images and Words is my‑favorite album. On this record, Dream Theater perfectly blends progressive ideas
with heartfelt emotional expression. The instrumental arrangements are intricate yet full of beauty.
Pull Me Under is a progressive‑metal track with pop‑oriented qualities. I am deeply impressed by the
atmosphere built within its intro.
Another Day delivers magnificent emotional expression, and its solo is absolutely breathtaking.
Metropolis Pt.1 "The Miracle and the Sleeper" is a brilliant narrative piece. It lays out the outline and key
hints for the whole Metropolis story, which later inspired the creation of Metropolis Pt. 2.
The closing track Learning to Live, in my opinion, is the most underrated song on the album. James LaBrie's
vocal performance here is simply stunning.
To sum up, Images and Words pioneered a brand‑new creative paradigm for progressive metal and marks
the starting‑point of modern progressive metal. Its power of emotional expression stands nearly unrivaled
among works of this genre.

LA MASCHERA DI CERA S.E.I. (Rock Progressivo Italiano, 2020)

Mon, 3 Aug 2026 19:11:28 EST

Review by Fercandio46 — La Maschera Di Cera offers three expansive tracks that, much like a candle flame, burn slowly, creating the illusion
that the wax remains in place rather than dripping down. Il Tempo Millenario, the first of the suites, opens with
keyboards taking the lead, backed by a powerful bass-and-drums tandem reminiscent of the Yes lineup featuring
Squire, Wakeman, and Bruford. Later, as Alessandro Corvaglia sings in his native tongue, accompanied only by
acoustic guitar and Martin Grice's flute, the music shifts to an intimate atmosphere that embraces Italian tradition.
Yet another side of that tradition also emerges: one defined by intricate rhythms evoking unexplored, inhospitable
landscapes, driven by keyboard lines that resemble choral vocals punctuated by the drums.

When the saxophone enters, also played by Martin Grice, the sound takes on not only a jazzy feel but also a dark
quality through the keyboards; the bass and piano then come to the fore amidst a shifting, atmospheric
soundscape... much like the very shape of melting wax: capricious and unpredictable.

There is a rock edge to Alessandro Corvaglia's voice that complements the music's solemnity and its grandiose
keyboard arrangements, which later take on a darker tone through the electric clavichord and electric guitar,
achieving operatic atmospheres akin to Banco del Mutuo Soccorso. Much like that band, a free-jazz passage follows,
reworking the same melody in a different key; and although Alessandro is not a tenor like Francesco Di Giacomo, he
rises to the challenge admirably.

Il Cerchio del Comando opens with keyboards reminiscent of the Van Der Graaf Generator that made a triumphant
comeback in the 2000s as a trio. The flute then introduces a more pastoral feel, though Alessandro's vocals infuse
the track with a groove blending rock, funk, and soul, recalling the acoustic side of bands like Delirium, complete
with flute and Mellotron. In fact, Martin Grice had been in Delirium in the 70s.

"Vacuo Senso" has an overwhelming opening; following the Mellotron, bass, and flute, it erupts with saxophone and
electric guitar until keyboard interludes suspend the melody, creating a strange sense of oxygen deprivation, as if
one were set adrift in deep space. Echoes of King Crimson, Van der Graaf, and opera are present, yet when the
guitar and piano enter, delicate counterpoints, reminiscent of Premiata Forneria Marconi, wrap the dark universe in
silk and bathe it in light. The piano and bass move forward warmly, crafting an endearing melody that proves the
band's ability to evoke diverse modos, much like the hues wax takes on once it dries. As if that weren't enough, an
improvised jazz passage follows featuring bass, piano, and drums; it retains a melodic core, and the addition of the
saxophone completes the picture, including a nod to John Coltrane's "My Favorite Things."

The surprises keep coming, as a keyboard solo takes center stage, reminiscent of a Canterbury-scene album or a
blend of Soft Machine and Supersister, before the saxophone steers the jazz-rock sound into full-on rock territory (a
feat they mastered even without guitars). Then, an atonal keyboard passage shifts into piano, heralding the
conclusion of a magnificent work; it evokes the feel of a Genesis suite, carrying a melancholic, reflective air, like a
retrospective look at events past, leaving no space unfilled, much like light bouncing off windowpanes after the
candle has been extinguished.

ROZ VITALIS Quia Nesciunt Quid Faciunt (RIO/Avant-Prog, 2023)

Mon, 3 Aug 2026 14:15:06 EST

Review by LionCat — Roz Vitalis is one of my favorite prog bands. With their purely instrumental music, they manage to express lots
of emotions and carry an uplifting message of hope and deliverance in times of trouble. Their most well-known
previous releases are Patience of Hope (2012), Lavoro D'Amore (2015), and, of course, The Hidden Man of the
Heart (2018) which stands out as the band's magnum opus. Each of those albums has impressed me very much,
each in its own way. How about the new one?
First of all, I have to say that you have no second chance to make a first impression. Basically all compositions on
QNQF album have been previously released as singles or as live performances, so the element of surprise is not
present here. But I must mention that most of the tracks have gone through a lot of transformations, therefore
the new album is worth your attention even if you own all those singles and live albums. Roz Vitalis is a very
creative and improvisational band, so we have a chance to hear different versions of each song, which for me is
especially interesting. And this new album has lots of surprises even for die-hard fans. I am not an expert in
music composition or sound production, neither in classic 70s prog (which of course is a major inspiration for
Roz Vitalis, but not so well known to me), and my perception of music is mostly emotional. Being an amateur
drummer myself, I also take special notice of rhythms and grooves. Having said that, let me try to give some
personal comments to each individual track.

1. Bait of Success

Well, this song slightly disappointed me at first, but it grew on me after more listens. Maybe it lacks some kind of
delicate intro? It starts at full speed with a simple synth melody in 4/4, then switches to a rockier groove with a
guitar riff in 7/8. Everything is cool, but kinda lacks variety. After a few loops in this style, we enter a "transit
zone" with harpsichord and synth melodies and effects (that remind me of the Compassionizer project), and
then a second part comes in where things become more epic. We have a ? surprise! ? reggae groove here, while
the guitar starts a solemn solo in a 3:4 polyrhythm. Later the melody is picked up by the trumpet to make it
more epic. Prog and reggae ? that's something new. Let's call it Proggae ))

2. Daybreaking

This one does have a gentle intro that I really enjoy. The whole melodic and tender side of Roz Vitalis is here in
full bloom, with a beautiful flute melody supported by the whole band. But as soon as you start relaxing, you
hear ominous guitar chords in 7/8 which take us to the next section, where acoustic guitar, percussion and
trumpet give us some dark flamenco vibes. After the anxious section, we are back to the main sweet melody,
this time both the flute and the trumpet have a chance to shine. I would propose "From Dusk till Dawn" as an
alternative title to this song ;) This song is similar in structure to the first one, but it sounds more coherent and
complete. All in all, a beautiful composition in the style of Progantino ))

3. Fountain

This is a nice small piano interlude which allows us to take a breath before next prog tracks.

4. Se Camminiamo Nella Luce (LP Version)

Translated as ]]>��title photo). We start with a slow piano melody, then the whole band comes in and the flute leads, reminding me
of "Lavoro D'Amore". Then the groove goes double time and we have epic trumpet solos over 70s-style synths
and rhythm section, which gives me a taste of spaghetti westerns and Ennio Morricone's soundtracks. Is it the
only song on the album that is only in 4/4? Sometimes less is more, and simple grooves work perfectly here.
Great song, bright and cinematic. I'd call it Proggicone ))

5. Premonition

This is the longest song on the album, and it's the most epic, symphonic, classic prog rock with elements of prog
metal. We start with a flute intro over an ominous backround. Then the main part kicks in, with the famous prog
5/4 groove (think "Mission impossible"). The guitar riffs, roaring bass and drumwork (we even hear the double
bass here, is it the only Roz Vitalis' song that has that?) can be classified as prog metal. But there's more. Soon
the good old 70s bass sound (that reminds me of ]]>��part of the composition, where we have a pleasure to hear more beautiful flute melodies and a powerful
Gilmour-style guitar solo. Wow. Weird titles are not applicable here. This is a good solid piece of ]]>��without extra spices. This song is just awesome.

6. Walking

I'm not exactly sure what they call "walking bass", but that was my first thought. Syncopated bass line, drums
and guitar work in the beginning of the song remind me of RHCP. In the middle, we have a cute medieval section
with harpsichord and other interesting sounds. Imagine strolling through an old European town and finding an
old castle haunted by ghosts. After that, our pleasant walk changes to some kind of panic run, as the tempo
alternates between 11/8 (with some neat polyrhythmic syncopation on the bass) and 4/4 with galloping bass. I
don't know if it was intended or just my sick imagination, but the whole song gives me RHCP vibes, and even the
sweet flute and trumpet melodies can't stop me or make me give it away )) Let's call it Red Hot Roz Vitalis. A
great song, by the way.

7. Wides

Well, well, well, that's a very interesting one. This song is not the longest one on the album, but definitely the
most action-packed one. We start with a catchy 3/4 groove led by bass and supported by ethnic percussion on a
background of jungle animal noises, then the groove seamlessly (special respect to the rhythm section for that)
shifts to 4/4 and the flute comes in with a sweet melody. Beautiful and pleasant. Then other instruments follow.
I'm happy. But wait, there's more! Suddenly the drums go double time, while the bass line changes to some kind
of funky disco. When I first heard this transition, it made my eyes wide and my smile big, and it still does at every
listen. The guitar chords also mimic this unexpected change of style, while the 70s synths play around the main
melody in a Doors-like manner. Additional syncopation makes you wanna dance, but be careful, because all of a
sudden the whole train at full speed shifts back to 3/4, and the bass starts playing Terminator 2 beat (WTF?!).
Then we have a distorted guitar solo, then comes another dancing section, this time in a medieval style with
harpsichord, then more guitar. What a party! And especially for us drummers out there, we have a couple bars
here and there with a cute little polyrhythm. The extravaganza ends with the whole band playing the well-
deserved T2 theme. Mission complete. This whole description may sound crazy and comic, but this song sounds
great and runs so smoothly. In my opinion, this is the most creative, original, versatile composition Roz Vitalis
has ever released. My favorite song on the album! Ima callit Proogie Nights ;)

8. The Man Whose Wings Were Cut Off (LP Version)

The track title is a fair description of feelings of many people during latest 2 years, although it was originally
composed in 2019 and released during COVID times of 2020. The song content basically corresponds to its title.
This is the most avant-garde / chamber style composition on the album, recorded together with participants of
Ivan Rozmainsky's other project, Compassionizer. It also serves as a nice preview of what Compassionizer music
sounds like, and I definitely recommend you to check out that project too. The composition itself is quite
sophisticated. The sense of anxiety is with you throughout the whole song. Time signatures and their changes
are too many to keep track of. There are lots of unusual sounds, including ethnic instruments rubab and doira
and even a little ukulele. Bass and drums are not always present which adds to the avant/chamber atmosphere.
The middle part is a more straightforward 7/8 instrumental prog march (Subdivisions by Rush comes to my
mind) where all instruments participate. But that would be too simple )), so later we seamlessly shift to 4/4 and
back. Then we have a quiet outro with acoustic guitar and synths. Welcome to the world of Compassionizer.
Generally a good track, very creative and rich in sound palette. However, to me something is missing. Maybe
there is too much happening and the flow is not as smooth as in the previous song? Maybe I wanted to hear the
message of hope? I'd call it Prog Noir.

9. Beautifulness (LP Version)

Oh well. Here it gets personal. I first heard the single version (released in 2020) at a very special time and place,
and it immediately grabbed my heart. The first notes of the slide guitar sounded like greetings from George
Harrison, and the whole composition was so bright and uplifting, it was a physical pleasure to hear. I literally had
it on repeat. It had a lot of air and that sweet sound of slide guitar blended so well with gentle melodies of flute
(although synthetic), clarinet and keys. However, it had some drawbacks, especially lack of real instruments, so
the band recorded a new version and released it on the album. What do we have here? It's still a beautiful slow
ballad with delicate rhythm section, but this time the whole arsenal of instruments is present. Here most of the
solo parts are played by flute while other melodic instruments play a supportive role. The slide guitar is barely
heard, and it's a pity for me. Ballad sections alternate with slightly avant-garde parts, and the ending gives us
some "morse code" (similar to YYZ, but somewhat different) played on guitar and marching snare drum. Looks
weird, but sounds nice and feels good. Beautifulness it is. A great track, especially the new flute melodies, but
my heart is still with the single version. It had that slide, lots of air and some kind of special tenderness. The title
of "My sweet Prog" goes to the single version. The album version could be nicknamed "Fluty Beauty". But that's
my personal biased opinion. Please listen to both versions and decide for yourself.

10. Nocturne

This is another nice small piano piece which is a perfect closing track for this exciting album.

My favorites are: Wides, Premonition, Beautifulness.

Good solid songs: Daybreaking, Se Camminiamo Nella Luce, Walking.

Less convincing for me were: Bait of Success, The Man Whose Wings Were Cut Off.

So, for the album in general. It's not a big conceptual opus as the Hidden Man was, it's rather a patchwork-like
collection of various songs. But to me, the strength of the album is this variety of styles, sounds, moods and
emotions. The new side of Roz Vitalis is their capability to play with different stylistic elements while at the same
time maintaining their own signature style. After all, Progressive is about progress, but very often we see artists
that fall for that "bait of success" and start repeating themselves. This is absolutely not the case with Roz Vitalis
and Ivan Rozmainsky. How often do you hear reggae, flamenco, funk, disco, metal, avant, ethnic and other
genres on the same album? Well, that's what prog is for me. The band is evolving and exploring new musical
territories, and that's great.

Roz Vitalis also plays great live shows, so their live albums are also worth exploring. I was also blessed to visit
their concert in April 2022 (the album Peace Live is also available here), and I definitely recommend to see them
live if you have a chance. Compassionizer, Ivan's new project which is anything but rock, is also very interesting
and highly recommended. Like, share, subscribe, buy the albums, support the band, go to the show to feel the
warm thrill of confusion))

And finally: this music, despite being instrumental, conveys a strong message of compassion and hope that the
world needs to hear in these times of darkness.

Many thanks to Ivan and the band for a great album! May the Force be with you as you walk in the Light! Looking
forward for more musical adventures with you!

CAMEL Breathless (Symphonic Prog, 1978)

Mon, 3 Aug 2026 11:02:55 EST

Review by A Crimson Mellotron — 'Breathless' is Camel's sixth album and the band's last one with original keyboard player Peter
Bardens as well as their second and final release to feature Richard Sinclair of Caravan. This
record is a logical continuation of the stylistic evolution of the band's previous albums (starting
with 'Moonmadness' and going through 'Rain Dances'), with Camel exploring a rather accessible
variation of their melodic style of progressive rock. Scant jazzy interludes can still be heard on
this album, although Mel Collins' presence and impact are virtually non-existent. 'Breathless' might
very well be classified as an art pop record with proggy arrangements, on which the vocals are as
unimpressive as usual.

By the way, the vocal duties on this album are divided equally between R. Sinclair, who is
undeniably the more capable singer, and Andy Latimer, whose limited range works well within the
context of Camel's mellow (and at times soporific) music. Some of the better songs featured on this
album include the title track, which is a sappy art pop number, the much more sophisticated 'Echoes'
with its ornate instrumentals and sheltering melodies as well as the 7-minute track 'The Sleeper', a
song exhibiting a fancy Canetrbury-esque nuance in the keyboards. 'Summer Lightning' surprises as a
nice example of danceable prog, while the rest is tame and dreamy, and perhaps not everybody's cup
of tea. The album as a whole is decent and enjoyable, but parts of it are truly boring and
unremarkable.

SYRINX CALL Mirroneuron 2 (Crossover Prog, 2026)

Mon, 3 Aug 2026 08:45:53 EST

Review by alainPP — SYRINX CALL operates outside of time, with flutes galore exuding a strong folk vibe; Mirrorneuron is an empathy-
dispensing AI controlled by Mara?an intricate psychotherapist figure in this supernatural fable that echoes the
style of SINGLE CELLED ORGANISM.

'Returning' kicks off with a SINGLE CELLED ORGANISM feel?fitting, given the flute that defines the band's
signature atmosphere. It's modern progressive rock?layered and ethereal?flowing into
'Boundless Choices,' where Kate Bush and Pink Floyd hover in the background alongside warm vocals; a blend of
prog and neo-classical styles featuring swirling guitars and an enchanting flute.
'Organic Embodiment' carries hints of ANGE in its melody, while Hannes's heavy build-up evokes ELOY. Jens's
velvety vocals briefly recall the soaring heights of SYLVAN or classic-era MARILLION. The whole track is sprinkled
with flute and female vocalizations.
'Are You My Image' features female vocals and an ambient folk-pop sound reminiscent of ENYA or IONA?truly
magical; the guitar arpeggios and flute create a moment of simple, ineffable beauty.
'Wheels of Emotion' follows, with narration set against the flute, leading to an emotional breakdown featuring a
guitar solo that appears out of nowhere?a solemn moment touching greatness, with sharp guitar work
reminiscent of MARILLION. The flute-driven folk drift shares this medieval-troubadour-style track with a big 80s-
style keyboard solo and a dash of *Different Light*-era vibes.
'Yearning' continues the conceptual journey, with the AI narrating the atmospheric space setting. It is a long,
building track?saccharine-sweet in its vocals, yet solid and substantial in its instrumentation. The finale,
featuring Isgaard's spellbinding vocals, is truly outstanding. "Attachment," featuring Doris, offers a pastoral
ballad reminiscent of days gone by?think JADIS or ELOY?showcasing languid six-string work that flirts with a
Floydian atmosphere. The keyboards strongly evoke ELOY?delivering that weighty sound perfect for navigating
the landscape of German progressive rock?followed by another Floydian outro featuring waves of sound.
"Emptiness" follows, led by the alto flute for a gentle, melancholic interlude; Isgaard once again takes center
stage with an elven vocal performance over a crystalline piano finale.
"Mind Over Matter" comes next, blending flute and piano into another melting folk-prog excursion, with Jens's
keyboard touches guiding the listener toward a heroic fantasy realm; it is an ethereal ballad that eventually
crashes into...
"Here..." an interlude defined by its dark alto flute?a moment of suspended anticipation.
"...And Now" brings back the energy with a soft-heavy riff and reverb-laden guitar, recalling the New Age sounds
of APSARAS. The melody begins to circle back on itself slightly, though one must acknowledge that sustaining an
hour of such high quality is no small feat. It is time to leave; cinematic footsteps sound before Isgaard calls us
to...
"The Difference," a track redolent of Kate Bush; the epilogue to a musical odyssey, complete with laughter, tears,
doubt, and hope.

SYRINX CALL has released a musical gem that builds upon the foundation of their previous album. It is a slow
musical journey where the tracks weave a spell, causing you to lose yourself and fall under their hypnotic
influence. The sound is an energetic and glamorous blend of folk, rock, and prog?sharp, effective, and polished.
(4.75)

IL BALLETTO DI BRONZO Lemures (Rock Progressivo Italiano, 2023)

Sun, 2 Aug 2026 18:20:38 EST

Review by Fercandio46 — Gianni Leone has remained active since the era of YS, the album for which he is best remembered, and it was in this
spirit that Il Balletto di Bronzo returned to craft a highly distinctive work. Rich in nuance and imagery, it evokes a
dark, ominous, and theatrical atmosphere; performing as a trio, the band ingeniously constructs a soundscape that
suggests specific moods and settings, scenes suspended in time and space where the very concepts of time and
space begin to lose their meaning.

"Oceani Sconosciuti" carries an air of silent-film horror reminiscent of the band Crucis, while the atonal
counterpoint found throughout the album also shares common ground with the music of Van Der Graaf Generator.
Gianni handles the vocals, lending Lemures a distinct avant-garde aura.

"L'Emofago" features a powerful drum foundation reminiscent of Led Zeppelin; the atmosphere created by the
keyboards and the lyrics of this concept ]]>�recitatives within a hard rock (bordering on heavy metal) context, complements Gianni's soaring vocals. It evokes
lightning bolts and tremors raining down upon Sodom and Gomorrah, all delivered by the trio in this magnificent
progressive work. It suggests that the best of the 70s never truly faded away; rather, updated for the present, that
spirit remains more vital than ever, especially since the music avoids sounding merely "vintage."

Napoli Sotterranea paints vivid mental images, an entire movie, really. Keyboards take on the role of guitars, while
the vocals explore mystical Eastern melodies, accompanied by a drum and bass foundation that occasionally
borders on psychedelia before embracing jazz-rock, though of a violent, provocative, and aggressive variety. This is
not the comeback of an established band merely recreating the past; rather, it is a group intent on offering
something new and making a fresh contribution to the musical landscape.

There is melody in L'Ombra Degli Dei... ideas are laid out; it is music that is alive, in the tradition of Italian
progressive rock, drawing upon its influences to forge something new. Following a keyboard introduction, an
instrumental section transports us into a different world; each step of the staircase leads to a distinct realm.
"Labyrinthus" blends Eddie Jobson's U.K.-style keyboards with Gianni Leone's operatic vocals, while a jazz section
with a Canterbury-esque spirit permeates the entire piece; the trio delivers an impeccable performance, featuring
an improvised section where time constraints seem irrelevant, that evokes a chamber-music atmosphere,
ultimately allowing that blend of tragic and futuristic romanticism to return and take hold.

The intricate, agile keyboard arrangements of "Certezze Fragili" contrast with the dense, suspended atmosphere of
"Deliquio Viola," where this progressive-opera fusion is pushed to its absolute limits, akin to reconstructing a
Renaissance past using parts from dismantled cars. They achieve the seemingly impossible; all that remains is to
follow the rhythm as the keyboards and drums, pulsing with energy, lead us to "Il Vento Poi." There, echoes of the
wind sweep the voices away, distorting them and blurring the lines between reality and time, exposing their
relativity, and, by extension, their malleability, as well as the possibility of altering them through perception.

DAVID BOWIE Aladdin Sane (Prog Related, 1973)

Sun, 2 Aug 2026 18:19:58 EST

Review by Fercandio46 — The man who would fall to Earth in 1976 never truly stayed in one place; London, Detroit, Los Angeles, and Berlin
always hosted him merely as a temporary traveler, a restless tenant destined to leave sooner or later. It was in this
context that, after bidding farewell to Ziggy Stardust, he moved forward with that same band, featuring Mick Ronson,
Trevor Bolder, and Mick Woodmansey, but also Ken Fordham on sax, three backing vocalists, and Mike Garson on
piano, whose contribution would make all the difference.

Naturally, lessons with Lindsay Kemp, the British dancer, actor, mime, choreographer, and set designer, helped shape
the persona of Aladdin Sane, a character that offered a critique of the entertainment world and was inspired by the
very tour during which the songs comprising the album were written.

That same dichotomy, between the lightning bolt across his face and his stance regarding his newfound stardom,
ultimately extended to the music itself; one can distinguish between Rolling Stones-esque blues-soul rockers like
"Watch That Man," "Panic in Detroit," "Cracked Actor," a fast-paced glam version of "Let's Spend the Night Together,"
and "The Jean Genie," and other, more experimental tracks. The latter reveal the jazz-inflected and at times atonal
influence of Mike Garson, as well as a cabaret DNA and darker, more evocative, compositionally complex themes,
songs like "Aladdin Sane (1913-1938-197?)," "Time" (heavily influenced by Jacques Brel, an essential reference for
understanding one of his earthly personas), "The Prettiest" (evoking the 1950s, a style that kept coming and going),
and "Lady Grinning," a gem featuring a flamenco-style introduction. Both Mick Ronson on guitar and Mike Garson on
piano earned their pivotal roles in creating that special magic, an artistic expression that would eventually lead him to
portray Paul Ambrosius von Przygodski in the 1978 film Just a Gigolo: a young Prussian character drifting between two
worlds yet finding a true home in neither, never fully belonging, much like Aladdin Sane.

CONRAD SCHNITZLER Gold (Progressive Electronic, 2003)

Sun, 2 Aug 2026 10:15:37 EST

Review by WaldoJeffers — As someone who really enjoys Conrad Schnitzler's early work with Kluster, Tangerine Dream and also solo, I consider
"Gold" to be a highly convincing album, standing in the tradition of "Blau" and certainly "Rot", dating from the same
creative period as this belatedly released album.
Schnitzler experiments here once again with all sorts of electronically generated instruments; briefly, I even hear an
accordion. You will search in vain for rhythms and harmonies here, of course; "Gold" is an album of free form. It
chirps, pings and creaks merrily away; only in track 12 (the tracks have no titles) does something almost akin to a
dance mood arise as a result of the electronic percussion; although even to this you can hardly dance, there is simply
too much going on. An oriental-sounding flute improvises over heavy chirping and bubbling above the quasi-soloing
percussion. Space techno? With the following track, "13", which sounds like a cool, empty factory hall turned into
music, a bit of Industrial also comes into play.

"Gold" is fun and enormously entertaining for those people who (like me) find many of the productions of the "Berlin
School" incredibly boring. Not a typical Conrad Schnitzler album, but for me (perhaps for that very reason) one of the
best.

KING CRIMSON Masque (ProjeKct Three) (Eclectic Prog, 1999)

Sun, 2 Aug 2026 08:43:50 EST

Review by A Crimson Mellotron — ProjeKct Three's 'Masque' comes straight from the R&D department of King Crimson. This is the third
installment in the live project series featuring members of the 'THRAK' lineup of the Robert Fripp-
led band, brought together with the aim of exploring off-beat ideas through improvisation and
experimentation. These are live recordings featuring alternating lineups of the 90s Crimson, with
this particular 1999 recording featuring the trio of Robert Fripp, Trey Gunn, and Pat Mastelotto. As
is the case with the majority of the KC releases from that period, the music played by ProjeKct
Three incorporates the spacey ambient soundscapes patented by Fripp, together with the finely tuned
Warr guitar of Trey Gunn and the impressive array of electronic percussion and loops played by Pat
Mastelotto. The type of experimental rock presented on 'Masque', however, is more abstract and less
groovy than the output of other ProjeKcts (like One or Two, which makes it closer to something like
'Thrakattak' than the album 'THRAK' itself.

The thirteen tracks making up this live album are numbered and (perhaps suggestively) left untitled,
while the somewhat intimidating, surreal and impersonal cover art uncannily reflects the kind of
music played on 'Masque'. This is one of these experimental recordings that only make sense when
heard in their entirety, but if I were to outline several pieces of greater significance, I would
have to start with '1', which is an obnoxious and impulsive opener, replete with hefty bass tones
and obscure guitar licks. 'Masque 2' then presents a more sustained rock sound tinted with gentle
ambient soundscapes, while the complex rhythms on '3' weave around the haunting electronics in a
rather menacing way. Later on, 'Masque 7' represents another abstract-sided piece, impressing with a
soft but prominent bass sound, whereas the industrial hue encompassing 'Masque 8' makes it one of
the darker compositions heard on this album. It is also worth noting how effective the hypnotically
abrasive sounds on '9' are, with the two final pieces also being among the highlights.

Of all the ProjeKcts, Three might be the single most intriguing variation of Crimson - 'Masque' is
unorthodox and compelling, but for me this is the kind of experimentation that drives the genre
forward.

GENTLE GIANT In a Glass House (Eclectic Prog, 1973)

Sun, 2 Aug 2026 08:20:57 EST

Review by AWizardATrueAimee — I've got quite the history with this album since my husband, who introduced me to progressive rock, had an
email referring to it. That was back in 2009 and I've listened to it countless times since. I was so excited to
see the band was releasing a remaster and I certainly have not been disappointed by it. Steve Wilson did
such a great job on their other releases. I'll admit I was heartbroken but understanding that this album
could present some difficulties. There's been some concerns about AI being used in this remaster that I
somewhat understand but?. I don't think we'll be getting as clear and true of a version of this album
otherwise. And if this is the way it's got to be done, I'm here for the ride.

This remaster/remix showed me all sorts of instruments and sections that I didn't hear in the past which I'm
really grateful for. An album which at times was previously impossible to parse is now much punchy and
emotionally charged than ever. And the album title track has always rang to me as a Gentle Giant staple
within their catalogue. It doesn't get much more progressive than this.

COMPASSIONIZER Caress of Compassion (RIO/Avant-Prog, 2020)

Sun, 2 Aug 2026 05:04:38 EST

Review by Molloy — With their new album (the first one within the Compassionizer project) Ivan Rozmainsky and his team
continue to explore new realms of the musical reality. It is an exploration in the proper sense of
the word because as typical for this artist even within one composition he rarely gets stuck in one
motif even happily found but always boldly proceeds his way through the limitless space of musical
associations and reflections. The Whole Creation Travaileth in Pain Together, one of the best work
of the album, with its feel of disturbing suspense and oriental touches inventively created by a
rubab and doira opens both the album and this twisted adventure as quite consistent with its title.
May be my favorite of the whole collection is 1907 with its the noble and persistent ardor and
beautiful baroqueness of the melody. The music of the whole album combines fluidity and precision in
expressing the richness of human moods and emotions, and by the way it is why I can easily imagine
many of these compositions as a great accompanying melody for an art-house movie. It is definitely a
big success of Ivan and the team and a next important step in their evolution.

THE CLAYPOOL LENNON DELIRIUM Lime and Limpid Green (Eclectic Prog, 2017)

Sat, 1 Aug 2026 13:33:57 EST

Review by A Crimson Mellotron — 'Lime and Limpid Green' is a 2017 EP by the Claypool Lennon Delirium, and it directly follows up
their debut album 'Monolith of Phobos', released the previous year. This four-track mini album is
made up of covers of Pink Floyd, the Who, King Crimson, and Flower Travellin' Band, and this
excellent selection definitely predisposes for a beautiful psychedelic experiment to unfold. I don't
know if is the shorter length or the better production, but 'Lime and Limpid Green' just feels
tighter and more cohesive than the duo's debut studio release. Their unhinged psych-rock side is on
full display here, with both Les Claypool and Sean Lennon providing vocals alongside their usual
instrumental duties, as was the case with 'Monolith of Phobos'. And speaking of this album, my
impression of it was that the stronger Primus influence, which is completely missing from this EP,
had allowed for somewhat of a stylistic jumble.

However, the versions of 'Astronomy Domine' and 'The Court of the Crimson King' played here are
excellent to the core, while the covers of 'Satori' and 'Boris the Spider' are not mere playthroughs
of the original songs, but well-done modern renditions that are fun and trippy. There is something
delirious about this four-track release, and I would say it is highly recommended for fans of space
rock, neo-psychedelia, and prog.