Reviews (all) - Progarchives.com

THE TANGENT Was (Eclectic Prog, 2026)

Tue, 13 Oct 2026 13:07:33 EST

Review by rdtprog — Here's a big 100 minutes of music from this band that started in 2004. It starts with orchestration
and takes you into the middle of a movie. Then Andy Tllison's piano takes over with narration. Then
it's a Philip Glass style of passage before every instrument builds the tempo for a short time. The
vocals of Andy make their first appearance with the guitar. "Was" is a nostalgia trip into the world
of Andy, his relationship with music. The music is a fusion of jazz, electronic, and prog, and we
are treated to a hard rock passage. Some saxophone is heard, but as always, it's the incredible
versatility of the keyboards that strikes us. Nostalgia is not always about music and dreams but
also the hard reality of the war, which shows us the conflict between reality and dreams. The last 5
minutes are where the emotional peak of the song is reached. The song brings back some recurrent
themes throughout, but everything flows perfectly. What a start!

"Was Not" is another big epic that is linked to the first. This time is the reality presented in
movies and TV that can be different from your own reality. It's a peaceful intro that takes you into
a small bar with a pianist playing and singing. It's jazzy for the first part, before the pace picks
up and then slows down again into a strange avant-garde passage. Then the keys are shining with the
guitar, sounding a lot like many Flower Kings songs.

The second CD is on the instrumental side with some French lyrics, showing the love of French
culture for Andy, first, and the ELP inspiration piece "Steak de chevreuil et Le Fermier. "La Route
cotiere" brings the flute to the party that matches jazz and symphonic, not too far from the band
Camel. ]]>�second heavier part at the 7-minute mark.

The last epic song, "Multi-partisanisme," starts in an ambient soundtrack atmosphere, with a long
jazzy instrumental section and a Weather Report passage. Then we have a long pause in the middle
before we get onto a fusion of jazz spiced up with some rock. I was never the biggest fan of
Tangent, but I've got to say this is making me want to revisit his old material. My favorite track
is "Was," but the album is a real winner.

TANSSIVA KARHU Luonnossa (Prog Folk, 2023)

Tue, 13 Oct 2026 12:05:27 EST

Review by kenethlevine — I'm not sure why what seems like a flute and acoustic guitar based pastoral folk prog pop album requires so many
listens to eventually conclude that this is, indeed, a flute and acoustic guitar based pastoral folk prog pop album.
It's like I had to ask for the application, evaluate its responses for fraud, and then granularize it when it resists such
artifices, and maybe it's just that. This isn't so much a collection of songs as a meandering river with both
mundane and world class scenery sometimes at the same time, that ignores any artificial boundaries, which is to
say any boundaries at all. And for an album with such a pop sensibility, that's a coup.

The album title translates to "In Nature", thornless and never muddy, with elegant old growth trees, sunset
reddened meadows and burbling brooks. Through here the group's Dancing Bear namesake frolics. Even the cute
cover makes me want my childhood teddy Mr Timboo back. This is an ensemble album that nonetheless cannot
but be dominated by the soothing voice of Jenna-Marie Laine, while still setting aside sufficient space for classically
proggy arrangements both during the vocal sections and in the sometimes lengthy breaks. In addition to the
aforementioned instrumentation, Tin Jay Vuori doubles on keyboards which allows them to slip in and out and feel
precious when they do, and Jarmo V]]>��passages.

It's too hard to recommend favorites since, as I implied, they appear as a discontinuous stream across tracks, but
"Viimeinen bussini aina ensimm]]>�"hit". It counts VIMMA's work as collaborative competition advancing the frontiers of pop. I will say that, other
than this track, the album is better later, though the "prog" finale shows where they still have some work to do.
Great sax though. Take all the time you need, preferably in your favorite open space, dear bear. 3.7 stars.

JOHN ZORN Spinoza (RIO/Avant-Prog, 2022)

Tue, 13 Oct 2026 04:12:14 EST

Review by Fercandio46 — John Zorn hadn't just returned to composing... he had returned to playing. Just like that... without anesthesia. And
that's not all: he did it alongside Bill Frisell and Matt Hollenberg on guitars, John Medeski on organ and Rhodes, and
Kenny Grohowski on drums.

"Spinoza" sounds like progressive rock: wild, defiant, dangerous, and raw, full of shifting rhythms. Once the initial
surprise wears off, one's first instinct is to think of Naked City, yet there are many differences, nineteen years' worth
of differences. And while absinthe might cause memory lapses, it certainly isn't to blame for forgetting anything
here. There is madness tempered by maturity, by the passage of time and a wealth of experience. There are
moments of police-thriller suspense and horror... but (and here is the new element) it isn't just cinema; there is
painting, literature, Rembrandt, and Matisse, all evoked by Medeski's Rhodes and Frisell's subtle guitar work.

And one revels in the joy of knowledge, of discovery and illumination (think of the Enlightenment); there is
philosophy without sacrality. Medeski brings a jazz organ into play that, alongside the drums, sounds funky, while
the guitar joins in the interplay.

Immanence is the opposite of transcendence; it is internal, not external. It is inseparable from the self, for to
separate it would alter one's very nature. And as these concepts are absorbed, the music takes on a psychedelic,
space-like sound, recalling the tenets of Peter Hammill and Van Der Graaf Generator, artists who knew a great deal
about philosophy.

If Naked City was cinematic (film noir) and At the Mountains of Madness was literary (H.P. Lovecraft), Spinoza picks
up that tradition, not rejecting it, but adding painting and philosophy to the mix; and we know (without needing a
crystal ball) that in Sing Me Now Asleep (2026), sculpture was to be added as well. All the arts speak of the same
things... albeit via different paths that converge. They revisit Greece and Rome, yet they press onward, adding, in a
progressive, not static, manner, to what came before.

At the Mountains of Madness was a live, chaotic affair; Spinoza is a studio ]]>�too, it is an architectural chaos, structured toward a specific end. It is dissonant; the guitar gives way to the organ
and drums, and then... the void. Or perhaps not. For there are echoes that reverberate.
Then comes the rock, hard rock, accompanied by the organ; Matt Hollenberg, who had already dazzled on Salem
1692 (2018) with a sound very close to King Crimson, here surpasses himself, performing alongside John Zorn as a
musician rather than just a composer.

Finally, on the second track, titled "Spinoza," John Zorn plays, or perhaps we should say screams, through his
saxophone, and the foul-smelling vomit joins it. Medeski manages to maintain a sense of taste and decorum with
his psychedelic 60s vibe, accompanying such rawness, which envelops and shakes us, by executing a complete 180-
degree turn. And here lies another novel aspect: the fact that it doesn't sound like the past, that it doesn't sound
the same, makes it all the more dangerous and terrifying.

It is a life-affirming, liberating pleasure to hear John Zorn playing again with such speed and depth, producing that
unmistakable sound. And though it may seem paradoxical, just as one could praise the clean timbre of Luciano
Pavarotti's voice (which it indeed was), John Zorn's saxophone possesses a similar timbre: clean, polished, pristine,
and clear, regardless of how dissonant or gritty the sound may be.

And there are the two guitars, Matt Hollenberg and Bill Frisell, along with John Medeski on organ (let's not forget
him), creating atmospheres that range from psychedelia to heavy metal and, above all, hard rock. And the
saxophone, with its free-jazz scales popping up here and there. Old riffs made new that leave us feeling truly
suspended in limbo... which brings us back to philosophical territory.

The agitated saxophone gives way to an organ and a calm saxophone... for the music exemplifies Spinoza's
geometric method for studying the passions, fear, love, hate, envy, examining them with the same composure
applied to numbers (since, as we well know, they are far from simple). Here, the "conatus", the life impulse, nature
striving to break free, comes into play. Yet, for Spinoza, traditional free will is not true freedom; we become slaves if
we allow ourselves to be swept away by emotions and ignorance. Freedom lies in rationally understanding why
things happen. It is not a matter of denying emotions, nor of passively surrendering to them (like animals), but
rather of understanding and choosing. This concept resonates with Nietzsche's idea that "one must keep inventing,
yet remain aware that one is inventing", in other words, lucidity. The saxophone's sound gradually fades... merging
with the keyboard until it becomes invisible.

KLAUS LENZ Klaus Lenz Jazz andamp; Rock Machine : Fusion (Jazz Rock/Fusion, 1978)

Tue, 13 Oct 2026 04:10:37 EST

Review by Fercandio46 — One cannot say that the Klaus Lenz Jazz & Rock Machine simply picked up where it had left off, since the band was in
West Germany due to circumstances beyond its control, yet, despite political upheavals, the project remained
steadfast, flowing and moving forward. Fusion was the title of the album and the opening track, as well as the name of
the project itself. The guitar played jazz notes in the style of Django Reinhardt, and there were moments of calm, quiet
pools within the ocean, that lent a pleasant aura to the otherwise relentless musical tide; this was one of the group's
greatest appeals. That was the challenge: finding variations without losing the band's DNA.

It is for this very reason that Fusion gradually reveals itself to be a distinctive album. "Spring Song" possesses a
syncopated atmosphere, almost a folk-samba rhythm, enhanced by the magic of the flugelhorn and piano. In its
gradual, improvisational composition, which is almost methodical despite its unpredictability, one can detect a touch
of the alchemy found in Weather Report. Ralph Blaha's guitar drives the rhythm, accompanied by the big band, which
at times slows the tempo and shifts into a soulful groove reminiscent of Blood, Sweat & Tears.

"Equinox" revisits a Maceo Parker-style sax-funk sound, anchored by a bassline with a strong groove, though it lacks
the massive horn storms of the past. Jazz-rock flourishes, Moog slides, and guitar riffs are present with a psychedelic
edge, yet the excitement surges again when the trombones take command alongside the deep bass lines.

"Reminiszenz An D.E." follows with an infectious bass groove; here, the orchestra (let's not forget that's what they
were!) regains its rhythm and reclaims its power, like a deposed monarch.

There is a unique sonic sensibility, one that seems largely lost, shared with the band Passport: a symphonic quality
where the bass kicks in just as the horn notes fade, and the next section joins in before the bass line even concludes.
"Stray Sheep" serves as a vehicle for Klaus to continue his masterclasses in flamenco trumpet, to our great enjoyment,
but it is more than that; the track, experimental in its own right, reminded me of Secret Oyster in terms of its meter.

Curiously, even though this incarnation included the word "rock" in its title, this album struck me as the least rock-
oriented, though no less interesting for it; rather, the concept of a jazz-fusion orchestra was more prominent.
Consequently, the final track, "Don't Run Around With The Ashtray," provides a perfect conclusion to the Fusion album
concept.

DROWNING STEPS The Bravery of a Tireless Mind: Book One (Crossover Prog, 2026)

Tue, 13 Oct 2026 01:18:49 EST

Review by alainPP — The album marks the first part of a triptych begun in 2017?with the second part nearly finished?hence the title
"Book One."

"I: The Angels and the Playground" opens with wood-toned piano and a sketch quickly torn away; there is a dark
introduction reminiscent of Roger Waters and Supertramp, with whispered vocals akin to Muse. The intimate
crescendo travels far before returning to an arpeggio worthy of "Jeux Interdits"?a moment of fleeting beauty. Then
it kicks back in: a dash of Rush, nervous vocals, a touch of Dream Theater; the music surges in all directions,
climbing ever higher. The explosive heavy-rock finale gives way to the return of a chilling, vibrant piano?evoking
Pink Floyd concept albums?in a truly moving conclusion. A masterful fifteen-minute epic.

"II: Fragments of a Lifetime" is an edgy ballad?blending pop, rock, and metal?featuring La]]>�energetic orchestration flirts with the Steven Wilson style, allowing the outro to settle into a nostalgic, bluesy
groove. "III: The Nod" is a melting piano ballad; synth-driven melancholy gives way to a dark, icy heavy riff during
the chorus. A sense of melancholy permeates the track, with narration by Erlend (of Giant Sky) heightening the
atmosphere. The massive, soaring chorus dominates everything until Caio's guitar solo?ethereal, spellbinding, and
magical?delivers the album's most majestic, jaw-dropping moment.

"IV: Waiting for Redemption" features piano for a ballad the Beatles might have played. It is a breath of fresh air?
airy, languid, generous, and dramatic?anchored by hypnotic piano. Then comes the shift: a Muse-style gallop, a
nod to the two-note motif of Elton John's "Song for Guy," and finally a heavy, thick, saturated riff played on a
vintage-style keyboard. A dash of ACT and Queen, a touch of creative madness, followed by a solemn choir and
dramatic flair?all driven by an organ that is at once velvety and edgy, reminiscent of the likes of Deep Purple,
Uriah Heep, or Kansas in their heyday; a moment of pure, nostalgic indulgence. Then comes "V: Life Handed Me the
Map," with the sound of marching boots marking a final musical convulsion?a way to wipe the slate clean before
moving on.

Drowning Steps continues to deliver those distinctive, innovative sounds, with echoes of Pink Floyd and Steven
Wilson. It is an atmospheric yet grandiloquent sound?spellbinding and restless.(4.5)

KLAUS LENZ Klaus Lenz Band : Wiegenlied (Jazz Rock/Fusion, 1977)

Mon, 12 Oct 2026 16:25:38 EST

Review by Fercandio46 — With a new incarnation of his Big Band, this time featuring a funkier sound, Klaus Lenz brings the Minimoog into the
mix alongside an arsenal of three saxophones, three trumpets, two trombones, and a flugelhorn. The synthesizer
dominates the soundscape with sinuous fusion patterns that dart about, creating in "Tarantel" the impression of a
melody trapped in a box, waiting to break free like a genie from a storybook.

"Octopus" enters space-age territory with layers of bell-like percussion; there is a primal quality reminiscent of
Herbie Hancock and the Headhunters, and the interplay between the Rhodes, bass, and horn section evokes the
epic nature of an interstellar journey, eventually settling into a Miles Davis-esque tradition of free improvisation
amidst primal percussive sounds, grounded in a funk made of earth, clay, and sand.

While Klaus plays the trumpet like an electric guitar in the first part of the album, from "Wiegenlied" onwards he
integrates fully with the orchestra, exercising restraint and adopting an arrangement more typical of a symphonic
band; the Minimoog plays off the orchestra, reminiscent of Camel or Caravan's collaborations with orchestral
ensembles. The Mellotron plays a significant role, providing counterpoint to the keyboards and making full use of
the dual-keyboard setup.

On the track "La Fiesta," the Rhodes piano is played in the familiar style, accompanying a Spanish, flamenco-tinged
melody reminiscent of Chick Corea; however, the horn section takes the lead here instead of the Minimoog,
boosting the track's power and resonance while allowing individual solos to stand out against the ensemble. In fact,
it evolves into a rendition of Return to Forever's "La Fiesta", covering the Chick Corea composition from that iconic
band's debut album as a tribute. The intensity of the arrangements almost surpasses the original, featuring classic
flamenco flourishes where the trumpet shines like never before, soaring to infinite heights.

With its muted trumpet and clavinet, "Bubblestone" has a defiant sound, like a soundtrack curated by Quentin
Tarantino, a fan of that era during his early days. Orchestral arrangements reminiscent of Isaac Hayes and Shuggie
Otis can also be heard. Just as Klaus's trumpet could sound disciplined within a big band setting, it could also sound
improvisational and jazzy, or raw in a funk context, reflecting the demands of the 1970s, an era when the balance of
power was shifting just around the corner.

"The Old New Way" is a bona fide organ blues backed by the full power of a big band, while "Say It To You
Tomorrow" is a tour-de-force serving as a temporary farewell, yet one that holds the promise of a return. The
hurricane may shift from east to west, propelled by the very wind it generates, but by constantly spinning on its
own axis, it remains on the right path.

TARUJEN SAARI Susien Y� - Delirium Lupus (Prog Folk, 2006)

Mon, 12 Oct 2026 15:28:05 EST

Review by kenethlevine — Here is an example of a group moving a few tectonic plates while not leaving its fans stranded on one. TARUJEN
SAARI had reached a commercial and creative limit in the medieval prog folk style and, instead of giving up or
tossing out a hip hop album, they released another medieval prog folk album. Yes, that's it. Did I mention it's also
symphonic metal?

With half the promotional push that compatriots NIGHTWISH had, "Delirium Lupus" could have earned a bigger
audience, and this almost comes across as a NIGHTWISH album composed of only their more Celtic oriented
numbers passed down through the decades, except it doesn't rely on that group's skill at transitioning into those
mostly ballads and then back into the shredder. TARUJEN SAARI whips them up together.

The very first notes on heavy rhythm guitar set the tone and rarely depart on subsequent tracks. A nod to the forgotten TERU'S SYMPHONIA
here. The must-here's are the ethereal metal instrumental "Musta sunnuntai" ("Black Sunday"); the evolving and
evolved "Palatynen laulu", with accordion integrated into a heavy ballad; and the Gothic keeper of a title track with
the accordion resting in favor of the fiddle. Honorable mention to the driving RUNRIG-like "Hemminki ja tunturin
noita".

The only weakness to this industrious album is that it should have pinned the listener down for the duration - we don't need a break
from the onslaught since the album breathes through its roots and we rest between breaths. 4.4 stars.

BOARDS OF CANADA Trans Canada Highway (Prog Related, 2006)

Mon, 12 Oct 2026 13:18:26 EST

Review by Logan — While Prog Archives has a star description for Collectors/fans only, my first thought with this
EP is that it might be better-suited to non Boards of Canada fans and collectors as it prominently
features one of BoC's best known tunes. I think many long-term collectors might well pass over this
2006 EP because leading with "Dayvan Cowboy" could make the release seem like a promotional product
rather than a fresh record. The track originally appeared a year prior on the full-length album The
Campfire Headphase. It's a classic track built on melodic, guitar-led layers, but its presence here
could overshadow the rest of the tracklist. I find that the other tracks strip away that loud, full-
band production for much simpler, quiet music instead. Except for the single and the Odd Nosdam
remix, the remaining material is entirely exclusive to this EP and to my knowledge has not been
included on any other official release.

On "Left Side Drive," cold synthesisers play over a warm, repeating bassline. The pace stays steady
within a restrained arrangement, and the melody on top sounds faded and worn. "Heard From Telegraph
Lines" is a short piano piece that sounds like a worn tape loop or a warped vinyl record. "Skyliner"
has a faster rhythm and clear synth chords, which stands out next to the sparse arrangement of
"Under the Coke Sign." The Odd Nosdam remix at the end is loud and abrasive, keeping the album from
resolving neatly.

Particularly due to the quality of the new centre material, this release would get four stars for
me; however, for PA purposes I will give this three stars. "Dayvan Cowboy" is essential BoC, but,
as said, can be heard elsewhere. I especially love this EP for "Left Side Drive" and "Skyliner" --
those are essential tracks in my Boards of Canada collection.

CYDONIA Second Sight (Neo-Prog, 2026)

Mon, 12 Oct 2026 12:23:02 EST

Review by tszirmay — Thoroughly loved their previous d]]>�because it was a damn fine recording! The Freiburg -based quintet returns to the forefront of German Neo-Prog (a
relatively quite scene lately) without any line-up change , generally a very good omen of things to come. Of note,
guest Jens Lueck does add keyboards and we have a few strings attached on the last track.

Eight delightfully melancholic tracks to discover, opening the velvet curtains with a nearly 8-minute extravaganza
"Heart of Stone", with lead guitarist Rainer D]]>�Lueck. The romantic slow-burner provides a bluesy shimmer that ultimately uncoils into a stunning power ballad,
with lead vocalist Michael Bernauer showing off his considerable Zeppelin-esque lung capacity. Oliver Gerike on
bass and drummer Dirk Fenchel rev up the rhythmic engines with turbo-charged glee, as the track hits the prog
autobahn in full flight. The expected axe storm gets the bumps nicely goosed, a wholly confident introduction, just
where they left off 4 years earlier. Wirklich ausgezeichnet !

"Clouds of Tears" stays pretty much in the same atmospheric pocket, a melancholic segue that soon kicks into gear
(a Cydonia specialty, the onus on passion, atmosphere and melody as opposed to rewriting the rock pantheon. It
went down very well, danke! It acts as a perfect appetizer for the epic main-course on this album, the romping 13
minute "Father" where the band gets to stretch out without any time or space constraints in creating a poignant
homage to a departed parent . The swirling synthesized spotlight is meticulously intriguing, almost like a classic
Manfred Mann-feel, the hypnotic bass and drum duo keeping the thin red line to perfection, whilst preserving a
melodic content that seeks emotional panacea. Bernauer once again proves his mettle, effortlessly navigating the
various turns and slopes with an insistence on meaningful lyrics. I miss my father very single day. He was a great
man, even his flaws were understandable. The extended guitar rampage has about as much to say as the lyrics, a
rather rare event. Great track.

With a title like "Home", we stay firmly in context, piano and voice adding a post-scriptum to the previous saga.
Another heartfelt plea from the deepest recesses of one's soul, where one cannot be alone when having a home.
Rainer unleashes a classic rock guitar solo, nothing fancy-shmantzy, just gut-busting honesty.
Where there is love, there is often pain, and elation is never far from despondence, it's the human condition. "Huge
Black Hole" is how sometimes the cards are dealt, and the downside is never pleasant. The composition is
appropriately heavy, where harder riffs collide with tectonic beats, the ever-raising anger palpable, a vortex axe
tornado that viciously remains only skin deep.

Another epic piece, the 8-minute "Sorrow's Lullaby" seeks to gently reconnect all the impressions stated
beforehand. The sunshine replaced by darkness and yet, hope springs eternal. Musically, the theme is almost
medieval, pastoral guitars reminding us of Blackmore's Night as the electric instrument parallels the acoustic one.
It's a playful yet sombre piece, as if attending a torch lit banquet, finding solace 'at the end of a horrible day'. Those
German jesters, always into sturm und drang! The spectral disturbances are compelling and nearly vaporously
trance-like until the wah-wah pedal decides to end the siege.

"Guardian Angel" thrusts another massive composition (in the dozen minute range) into the fray, an overarching
symphonic display with a rampaging bass, colossal choir backing as well as masterful percussive insertions. Echoing
organ, spoken child lyrics and resonating guitar shavings keep the mystery alive. If you wagered that a massive shift
is upcoming, you were korrekt! When the melodic force oozes through vocally and instrumentally, the subdued
skies scatter in the wind, replaced by bold assertions and a luminosity that shows the road ahead as well as
upward. The guitar work is intensely immense. The sentinel of salvation is waiting to show you the way.

Time to lay on the strings, as violin, viola and cello combine to seal the deal on "Enjoy Yourselves" , a positive finale
to an album laden with painful memories, desperate outlooks yearning for resolution and someone or something
to heal all the pains of the universe. Surely soothing and hopeful, but first, you have to let go of the pain, open your
heart to a new destiny. Time waits for no one. Carpe Diem.

4.5 Martian landscapes

JURI CAMISASCA Te Deum (Rock Progressivo Italiano, 1988)

Mon, 12 Oct 2026 12:18:40 EST

Review by Finnforest — Beauty Beyond this World

A once troubled soul finds peace? In 1974, Juri released his debut album which, while quite obscure
to even RPI fans, is quite beloved by fans of esoteric singer-songwriter and avant-folk. It felt
somewhere in those murky woods of emotional despair and conjured similarities to people like
Sorrenti, Rocchi, Comus, or even Devandra Banhart to use a more modern reference. While the album is
very cool and something you should hear, it does feel like the product of someone in perhaps a
troubled period of life. Whether that was the actually the case, I don't know, but soundwise it did
have that feel. Indeed, Juri would walk away from this '70s music scene a few years later, have a
spiritual transition, and come out the other side a dozen years later with Te Deum, one of
the most beautiful works I've heard in quite a while. He was also a different person after finding
the true peace and joy that comes from Christ.

The album leaves behind all vestiges of the old acid/avant-folkie style of the debut. That's all
gone. This album is built around ancient Latin texts and calming soundscapes composed by Juri,
bridging the very old with some modern assistance to invite contemplation, often feeling as heavenly
as the true Catholic Mass, the Mass of the Ages. None of the emptiness of the unfortunate post-
Vatican II suburban modernist services, this is squarely ancient spiritual hymn and chant. He
employs the chant, choir, and soprano voice you may expect to hear, but his background friendship
and perhaps influence from Battiato lifts the album from being simply "a religious recording" to
something a bit more evocative and, dare I say, progressive for this genre aisle of music. The sound
and clarity of the keyboards and human voices are well blended, and the voice, in particular, feels
soothing and deeply inspiring. That doesn't mean this is progressive rock; this isn't rock music at
all. Giving some context to his inspiration here, in his own words, it is translated as follows:

"This album is a testimony in the sense that it is a praise of God. If one praises God, it means
that one feels Him; and since in our society God is not perceived or is considered something
abstract, it becomes necessary to bear witness to the contrary. The greatest praise of God is,
evidently, each person's life. However, there are forms of communication that go beyond gesture and
word. A painter can depict a sunset, but it is not the sunset that interests him, but rather the
emotion that sunset gave him. I think that music has, in this regard, something more than the other
arts, because it is direct communication, without the mediation of matter; it is the emotion itself
that makes itself felt through the vibration of sound. With this album, in short, I wanted to make
others feel my relationship with God." (JC)

Well, he certainly will make you feel that. Such an experience this is, far beyond just another half
hour of music, but a moment where you can feel something deeper reaching for your heart, something
hoping you will accept His invitation to change your life eternal. For the listener, we are not only
sharing such emotional weight expressed by the artist but something more profound. There is a depth
of contemplation, stillness, and a "letting go" of fear and anxiety. You remember that this world's
nonsense and chaos cannot interfere with His will. For we know the spiritual battle is already won,
therefore a deep peace descends on you just as the music does, quite a lovely outcome indeed. While I am no expert on ancient hymns
or this genre of music, this is the most satisfying work of its kind that I have heard. While I have
not heard all of his albums, this one may well be his true legacy recording, not the better-known
La Finestra Dentro. Grazie, Juri. Thank you for releasing this.

THE EMERALD DAWN The Land, the Sea, the Air (Volume 2) (Neo-Prog, 2026)

Mon, 12 Oct 2026 10:30:22 EST

Review by The Progmeister — The Emerald Dawn have become without any doubt the darlings of the Prog festival circuit yes, there is such a
thing!. If you haven't yet explored their music I would highly recommend that you do. Combining many trace
elements of the many musical genres usually associated with the myriad of Progressive rock artists currently
pedalling their wares, The Emerald Dawn have over the years calved their own niche rather than follow the
recognised pattern of so many bands.
The Emerald Dawn are at their best in front of a live audience and as I write this review they are about to embark
on another tour. The band's music is very atmospheric and veers away from the conventional blueprint of lyrical
verse, instrumental bridges and their like.

Comprising of Tree Stewart keyboards/flute/vocals acoustic guitar, Ally Carter Guitars/Saxophones, David
Greenaway bass and Tom Jackson drums.
Their latest album and their seventh to date is called The Land, The Sea, The Air volume 2, with volume 1 having
been released last year 2025. I will say from the outset that I believe this to be the band's strongest work to date
and definitely sees them hitting their stride.
As with the majority of The Emerald Dawn albums there is the inclusion of a twenty plus minute opus in the form of
Song Of The Rain Forest and as you would expect, begins with bird call and rain forest soundscape. The steely
synth/organ pad is gently broken by chunky bass line and lilting chorale chords via Tree Stewart's haunting
keyboards swiftly followed by Ally Carter's signature grungy guitar and his equally signature saxophone playing.
Never failing to edge towards the both the drama and tranquillity of such an environment are beautifully laid bare
here whether it be the devastation caused by man or the serenity found within its canopy. Tree Stewart's keyboards
are the best I have ever heard them throughout all of the band's canon so far.

Using her usual sounds Tree seems to have moved them into a darker and more experimental place throughout
this piece breaking the mood with gentle flute inflections. The final say goes to Ally's driven guitar work however
tastefully backed by Tree's keyboard strings.
The rippling, crisp piano intro to Rivers Of Tears befits the impression of flowing rivers remember them? or gentle
waves kissing a shoreline. However, the wayward guitar break shatters the absolute tranquillity allowing the firm
bass playing and synth string and brass sound to open the piece into a much larger scale.
Singer/keyboard player Tree Stewart's voice achieves the most clarity it ever has throughout all of the band's
albums so far with saxophone giving a gripping edge to the whole piece.
Though it is Tree Stewart's keyboards, especially piano that allow this piece to flow so beautifully, a strong presence
of the rhythm section here especially Tom Jackson's percussion make such a dramatic conclusion very much a band
effort.
The trio of well crafted musical landscapes that make up The Sea The Land And The Air volume 2 concludes with
the rather wonderful Paradise. Though a little less epic, Paradise has fast become my favourite The Emerald Dawn
piece. Both the plucked violin/cello sound and Tree Stewart's soothing voice put the overall sound in the Clannad /
Enya Celtic atmospheric area. Both the melding of the organ sound and pleading lyrics here are very thought
provoking and a potent combination and along with Ally Carter's sharply etched guitar and flowing keyboards drive
the song to a powerful crescendo.
It could be said that much of The Emerald Dawn's music is formulaic and that the band rarely waver from it? No bad
thing by the way! This may be showing the first signs of changing with this album and its predecessor. Apart from
the apocalyptic messages, it is without doubt the most coherent album they have recorded to date. Beautifully
packaged with artwork by Tree Stewart, haunting melodies and excellent engineering I would recommend this
album to anyone who enjoys music by Gong, Ozric Tentacles, Hawkwind and their likes. The Emerald Dawn have up
till now recorded beautiful partisan atmospheric music enjoyed by too fewer people than they deserve. The Land
The Sea The Air volume 2 will hopefully open them up to a wider audience? Yes, it really is that good.
You can buy The Land The Sea The Air volume 2

GREEN CARNATION A Dark Poem, Part III: The Messiah Complex (Experimental/Post Metal, 2026)

Mon, 12 Oct 2026 07:24:44 EST

Review by Rysiek P. — And while it may not sound cheerful, the fact remains that everything comes to an end. Sometimes that end is
premature; at other times, it is expected. Had the Norwegians not returned after their hiatus in the mid-2000s, they
would have been remembered solely as the creators of one of the most ambitious, monumental works in the
history of metal - an album consisting of a single, sixty-minute track titled "Light of Day, Day of Darkness." It is a
record that can only partially be classified as a metal album; pigeonholing its content simply as "metal" is
unjustified. With an operatic choir, a children's choir, screams, unconventional instruments (such as the Ebow), and
multiple vocalists, it is a multidimensional, multi-stylistic, and ' arguably - unique composition.
The only one until 2025'specifically, until the band released the first installment of the "A Dark Poem" trilogy,
*A Dark Poem Part I: The Shores of Melancholia*, and its second part, *A Dark Poem Part II: Sanguis* (both of
which were reviewed on MLWZ.pl). While the first part was driven by a dark, heavy wave of black metal, the second
embraced a crossover style filled with raw ballads - all within the span of barely a year. The first part of the trilogy
came out in September 2025, and the second in April of that same year. As for the third part, it is premiering right
now. Over one hundred and ten minutes of music in the course of a year. The title of the album concluding this
three-part saga is *A Dark Poem, Part III: The Messiah Complex*.
Regarding the Norwegians' latest work, vocalist Kjetil Nordhus says: "it is definitely our greatest achievement
since *Light of Day, Day of Darkness*. Our new album trilogy marks a return to the epic storytelling that first put us
on the map in 2001. While the reception of parts one and two was incredibly positive, we believe we saved the best
for last with part three. *The Messiah Complex* ties the entire story together, standing as our most ambitious work
to date." Furthermore, in the interview, Nordhus reveals how the individual parts came to be: " While the direction
of the work emerged during the creative journey itself, *The Messiah Complex* was meticulously planned, with a
clear vision of how the story was to conclude. Our goal was for each of the three parts to stand on its own, yet part
three binds them all into a cohesive whole."
The third installment is also the most progressive part of the trilogy - though, as is often the case, I am
stretching and perhaps overusing that term here. It is worth recalling that the concept behind *A Dark Poem* - a
work inspired by Arthur Rimbaud's dreamlike ode to the tragic Ophelia from Shakespeare's play - evolved across
successive albums: moving from melancholic metal tracks through the aforementioned crossover ballads, it
reached a turning point that demanded a spectacular conclusion - a fitting culmination of the work. And that is
precisely what it delivers.
"Unconditional Artificial Chemistry" - the first single and opening track of the latest album - serves as a perfect
continuation of *Sanguis*, sharing much of its atmosphere and emotional resonance. Its six-minute structural
grandeur harkens back to the previous installment while simultaneously heralding the new one. The track retains a
powerful rhythm section, a martial arrangement, and the qualities that captivated listeners on the earlier record:
melodic storytelling and vocal perfection. How far the band has come since the opening notes of the trilogy's first
chapter... Despite frequent tempo shifts and edgier guitar solos, the music represents a distinct stylistic evolution -
though it still stands at the intersection of metal and the heavier side of progressive rock.
"The Messiah Complex" - the title track - marks a distinct departure from the band's previous style. While
earlier songs saw the group gradually moving away from heavier sounds, here they have fully embraced a
progressive direction. Its defining features include deep lyrical sensitivity, subtle orchestral touches, and a
breathtaking progression. Yet, it all feels too brief - too short for us to fully appreciate the wealth of musical
nuances the composition holds. I particularly recommend the middle section, where the initially slow and majestic
piece transforms into a powerful, dynamic progressive track that transcends prog-metal - a genre whose elements
serve here merely to heighten the song's dramatic intensity.
"The world is racing at a terrifying speed. It feels like we're losing control of it," says Nordhus. "As individuals,
we can't really cope with everything that's heading in a disastrous direction." The third track on the latest album is
about exactly that. "Broken Souls, Common Enemies" gives voice to anger and reveals a sense of being lost, yet it
also offers a soothing touch - comforting the listener and encouraging calm. The song features both powerful metal
riffs and a guitar solo that resonates with longing, lyricism, and a beautiful melody. That solo acts as a ray of light,
bringing clarity to the composition's structure and making the terrifying vision of a frenetic world seem less
frightening.
Of course, no final chapter would be complete without an epic conclusion. The closing composition, "A Dark
Poem ' Orchestral Suite," reveals its most striking feature right in the title: an orchestral suite performed by the
Kristiansand Symphony Orchestra and Opera Choir. It is a piece brimming with majesty and grandeur, defined by
classical meter and magnificent phrasing. It strikes the listener with a sense of gravitas - never overbearing - and an
incredible sense of importance in its individual passages. For nine and a half minutes - the duration of this
orchestral introduction - the listener is transported away from the style of music encountered previously. It is a
symphonic journey of over nine minutes that uses classical meter to express hidden emotions while simultaneously
soothing, calming, and cradling them. Only after this extraordinary prelude does Green Carnation proceed with the
rest of the track. It is an incredibly bold move, yet hardly surprising. One need only read the words of vocalist Kjetil
Nordhus: "It's a bold step. But from the moment we began work on this trilogy, the whole band was in agreement:
we wouldn't make any compromises. Ending 'A Dark Poem' with an orchestra - fully utilizing its capabilities - is a
move in the spirit of progressive rock; exactly the kind of thing great bands did in the late 60s." I would add that it is
a move sure to surprise any listener accustomed to heavy riffs and tempo changes. Please weave spoken passages
and a grand finale into this classic structure - a finale that, from roughly the fifteen-minute mark, leads the listener
to an abrupt and highly surprising conclusion. And throw in a choir that resonates magnificently in the final minute.
Sixteen minutes of total surprise.
If, after listening to this composition, a question of surprise along the lines of "but we expected..." springs to
mind, please cast it aside immediately. *A Dark Poem ' Orchestral Suite* defies easy definition; it surprises with
such force that, even after repeated listens, one cannot quite fathom why it ends the way it does. Yet perhaps that
very quality is what gives us a sense of something extraordinary - something that breaks away from the norm and
the clich'. Give it some thought on your sixth, eleventh, or eighteenth listen... it is well worth it.
Green Carnation's third chapter of the "A Dark Poem" saga leaves one both stunned and contemplative. For
me, this extraordinary quality restores a faith in the potential of progressive rock that sometimes wavers. It opens
yet another new door - or, if you prefer, a window - onto the world of music in this genre. It is truly one of the most
fascinating musical phenomena of the year. Finally, I would like to quote a sentence found somewhere in the
depths of the internet: "With the release of 'A Dark Poem, Part III: The Messiah Complex,' Green Carnation
completes an outstanding work that, alongside 'Light of Day, Day of Darkness,' stands as a pivotal achievement in
their legendary career." One can only wonder whether it is even possible to create something better after a trilogy
like this'

REDEMPTION The Origins of Ruin (Progressive Metal, 2007)

Mon, 12 Oct 2026 03:14:00 EST

Review by Hector Enrique — Redemption delves deeper into the formula it successfully applied on "The Fullness of Time" and replicates it on "The
Origins of Ruin" (2007), the third album in its discography, emphasizing its more aggressive side and integrating it with a
significant melodic component.

This approach, on the one hand, comes across as energetic and overwhelming in fast-paced tracks like "The Suffocating
Silence," "The Death of Faith & Reason," and "Used to Be," characterized by the instrumental force typical of metal's most
intense subgenres. This power is underpinned by the incisive, angular guitar riffs and dizzying solos of the duo Nick van
Dyk and Bernie Versailles, as well as the boxy, reverberating sound of Chris Quirarte's drums. All of this finds its melodic
counterpoint in van Dyk's floating, enveloping layers of keyboards.

On the other hand, beyond the gentle melodies of the brief and stripped-down "Origins of Ruin" and the cinematic power
ballad "Blind My Eyes," the band ventures into more elaborate territory, with dynamic and intricate arrangements, rich in
progressive nuances and technical refinements. With Ray Alder's expressive vocals serving as the common thread, the
dramatic "Memory" -the album's standout track- and the hopeful "Fall on You," both expansive and epic in scope,
combine instrumental intensity reminiscent of the iconic Dream Theater, with introspective and melancholic
atmospheres that evoke the compositional sophistication of Alder's Fates Warning.

Very well received by both fans and the specialized press of the time, "The Origins of Ruin" helped cement Redemption's
status as one of the leading representatives of American progressive metal in the 2000s.

Very good.

3.5/4 stars

FOCUS Ship Of Memories (Symphonic Prog, 1976)

Mon, 12 Oct 2026 02:25:54 EST

Review by Matti — The path of the Dutch prog prime Focus indeed took peculiar twists after the halcyon days. First the stylistic
change with Mother Focus (1975), and then, when the band had collapsed already, their former producer Mike
Vernon compiled Ship of Memories from unreleased "odds and ends". With such background, the listener
undoubtedly approaches the album with caution and doubt. Naturally no one would expect it to stand
comparison to the masterpieces, which it doesn't. But the all-instrumental album can be a fairly positive
surprise inside its poor b/w cover.

Most of the material dates from 1973. Two of those six tracks, the delightfully flute-heavy opener 'P's March'
and the brief closing title track, almost made it into a single at the time, but the idea was cancelled due to the
release of the live album Focus At the Rainbow (1973). Akkerman's jazz-rocker 'Can't Believe My Eyes' is good
even though in a blindfold test I'd probably guess Terje Rypdal. Thijs van Leer's 'Focus V' is an enjoyable,
peaceful track. The excellent 'Hamburger Concerto' side-long suite on the 1974 album of that name started life
as 'Vesuvius', and that's the root of the Akkerman/Reuter piece 'Out of Vesuvius', a fusion piece showcasing
great musicianship instead of memorable melodies. Akkerman's slightly monotonic 'Glider' features some
yodle-like vocals to strengthen allusions to the halcyon days.

'Red Sky at Night' and 'Crackers' were just about the last pieces van Leer and Akkerman did together in 1975
before breaking the band. They are nice, the latter being very lively and groovy fusion piece quite
uncharacteristic to the earlier Focus. In between them is 'Spoke the Lord Creator' dating from 1970, a leftover
track from the debut album sessions. It's not bad but only average, and these words actually suit the whole
Ship of Memories. But then again, what can one expect from a compilation of leftovers? A firm three stars
easily earned.

KLAUS LENZ Klaus Lenz Big Band : Aufbruch (Jazz Rock/Fusion, 1976)

Sun, 11 Oct 2026 18:51:56 EST

Review by Fercandio46 — The process had already been underway since 1974, but by 1976, much had changed; these were dizzying times for
music, an era measured in light-years. Aufbruch was the Klaus Lenz Big Band's first fully instrumental album.
Fittingly, the opening track is titled "Blow Out"; the trumpet takes center stage, yet there is room for every single
musician to shine. J]]>�featuring trumpets, trombones, and saxophones, offered something truly novel, sounding unlike any other jazz-
rock band with a horn section. They sounded dark, at times symphonic and epic, while elsewhere coming across as
sophisticated, experimental, and dissonant.

"Balkantanz" keeps the hurricane raging, and we can certainly speak of a "Lenz hurricane," where the winds
possess a tribal energy rooted in both Africa and the deep traditions of Europe. There is funk, jazz, rock-style
phrasing, improvisation, and psychedelia, all swirling together like an enveloping mantra. Lenz conducted the
various sections he had established; at times, the musicians played different scores simultaneously. This organized
chaos paid off when the musical currents parted to make way for a succession of solos, solos that were anything
but tedious, proving instead to be thrilling and electrifying as his bandmates supported the players by weaving new
melodies around the central theme.

And one of the most important details: Klaus's playing style had a distinct personality. You knew it was him
immediately, just as you would recognize Miles Davis or John Zorn. And when the Big Band played in unison, the
sound was simply earth-shattering.

With Aufbruch, we enter more experimental territory, as well as the realm of Eastern traditions. The combination of
power and mathematical precision is comparable only to bringing together Tony Williams and Billy Cobham with
their respective bands. Yet Klaus Doldinger and Passport also enter the equation, while guitarist J]]>�and Wolfgang Fiedler, on electric piano, weave their way through the spaces left by the horns.

It is an experience akin to stepping into a time capsule and finding yourself in the 1970s, whether the real era or the
one imagined through cinema, with all those eccentric police thrillers. Yet, "Hallo, Igor" begins more in the vein of
Van der Graaf Generator, with Hugh Banton on the organ...when the winds kick in, they erupt into thunderous,
atonal blasts while the organ continues its diabolical course. Then the descent into the abyss begins, a fusion of
Gentle Giant and Van der Graaf, with all the Shulman brothers still together. The scale shifts into a frenetic jazz
mode, so fast it leaves you breathless, driven not merely by virtuosity but by the dramatic tension being conveyed;
there is genuine suspense in this music!

Impeccable, syncopated, and synchronized precision for the finale... giving way to Ballade F]]>�tide of the "Lenz hurricane" had passed, a freezing wind remained, striking the surface with force and offering no
quarter, for it was a defiant decade where art showed no mercy, and was loved for precisely that reason.

TARUJEN SAARI Sota Kirottu! (Prog Folk, 2004)

Sun, 11 Oct 2026 17:52:53 EST

Review by kenethlevine — It's not so much the theme you are exploring than how you explore it, and the horrors of war have formed part of
the collective folk consciousness for more than 100 years, boosted by the folk revival of the 1960s and 1970s.
Having said that, I've been quite happy to skirt many of these recordings in favor of almost any other topic,
be it, as in the case of this erudite band, lust and death in all its forms outside the battlefield.

With four excellent tracks and 5 other good ones, the weakest are the a cappella attempts which just don't suit the
band. Among the best are the interpretation of a Swedish folk song from 1919, "Byssan Lull" which is more like a
sad resigned commentary on human nature. No protest here, or from this reviewer! The title cut is a rather bouncy trad French song
from the 16th century and acquits itself well as the album's prime ambassador, firing a far superior version than
that found on GABRIEL AND MARY YACOUB's 19732 album "Pierre de Grenoble", whose title track is also here, just
in case the reverence for this French pioneer isn't yet acknowledged. "Tulihevonen" is masterful in proving how
well TARUJEN SAARI can produce original music hard to distinguish from trad. But the must hear tune is
"Sotaratsu" with its driving rhythms and themes of, not just an innocent human being forced to do battle but their
even more innocent horse. This is reminiscent of the best of 1980s FRANCO BATTIATO but achieved with acoustic
instruments, even if the harmonium and hurdy gurdy comprising the main repeated theme sound very kitschy.

Shackled like prisoners of war to the emotional baggage of mass killing, TARUJEN SAARI has produced perhaps the
weakest album in their discography, but that doesn't mean you shouldn't hear it.

GIANT SKY Giant Sky III (Crossover Prog, 2026)

Sun, 11 Oct 2026 16:31:14 EST

Review by alainPP — GIANT SKY, a vignette summarizing 25 years of songwriting.

"Mundane Morning" begins fleetingly, ethereal before the vocals and a crescendo on the melting Mellotron, the
Floydian acoustic guitar, and the ensuing reverberating instrumentation. The atmosphere swells, the sound of
GIANT SKY explodes in your face; the outro on PINK FLOYD releases "Nothing to Forgive Nothing to Forget" on the
melancholic organ and its syncopated drums, a 70s tune revisited for its marshmallow-like guitar slicing through
the air. The analog sound is showcased for the orchestral drift, the solemn piano finale very Floydian, the
psychedelic sound of 'Dark Side'. "Limerence" follows, enveloping violins over an ethereal choir, the music vibrates
with this melancholic cello, the sensation of being on a cloud above the solar winds. "All the Rage" follows, a
concept album where everything is interconnected. Myrtoula's voice seems to emerge from a ray of sunlight
hidden by a cloud; it rises like an indescribable rage, surrendering in this minimalist, unsettling coda.

"Reveries of Gold" is reminiscent of the Beatles, Coldplay with its aggressive violin and melancholic, joyful, and
depressive atmosphere, culminating in a striking banjo finale. "Fleeting Glimpse" is an instrumental with an
ethereal, distant vocal, a surprising jazzy drift into the elegiac realms of Giant Sky?perfect timing. The rest of the
album is less conventional, with an art-rock exploration reminiscent of XTC in its riffs. A long, progressive
development, one of the best of 2026 so far. "Sun World," with Myrtoula's voice reminding me of Anna d'Albion's,
melting, an ineffable beauty. A common, conventional ballad with a jazzy feel; A distinctive, thrilling crescendo, the
piano leading back to a nonchalant country melody. End of set? No, the spacey transition to "Lifting Apples" is
official, Erlend crystalline on the smooth guitar, or perhaps the other way around. The return to the charismatic
GSII, more electro-post-rock, ethereal in the vein of Sigur R]]>�powerful edge on the final elegiac, Olympian, heavenly folk crescendo, grandiose, hold on tight so you don't get left
behind; stressful and exhilarating.

GIANTSKY, a musical suite built around humanity with its imperfections, doubts, and hopes; a suite that will satisfy
fans of classic Pink Floyd.( 4.25)

MOTHER OF MILLIONS T (Progressive Metal, 2026)

Sun, 11 Oct 2026 16:24:52 EST

Review by alainPP — MOTHER OF MILLIONS, an ambitious atmospheric odyssey surpassing their marvelous previous work?

"The Wound" launches into alternative metal, with high vocals, a heavy rhythm section, and a soaring ambient
break?the band's signature sound. A track imbued with a poetic quality, it culminates in a groovy finale
reminiscent of a frenetic THIRTY SECONDS TO MARS, leading into "The War" with a siren, George heating up the
atmosphere on a danceable electro-dub keyboard. The choir soars, the guitar surfs on djent territory, remaining
somewhat subdued. The break surges into a colorful, explosive solo, punctuated by a contemplative violin, while
the choir continues its synth-prog metal journey. "The Aftermath" begins with intimate, whispered, Asian-
influenced vocals, culminating in a heavy, laid-back rhythm. George's slow tempo showcases his distinctive
timbre, pushing the octaves forward; Stadium, stadium, leading to a raised fist unfurling in a solo mantra, and
"The Innocent" follows, the prog spirit arrives, that melancholic, electro, minimalist keyboard of the 80s-90s
swelling until it launches the intense, boundless, "Leprousian" riff. The raw verse, the build-up on the splattering
keyboard, the percussive, syncopated drums, all this accentuates the misery of the collapsing world. The build-
up becomes symphonic, grandiose before that devastating growl; a slap in the face. "The Ascent" arrives, a
latent, somber atmosphere on a spoken word piece by another George from the Elytis poem, a melancholic
ambiance reminiscent of OCEANSIZE or COMA ROSSI. A track to be taken as an interlude, a break between the
tonic MoM and this ethereal female vocal choir. The build-up on THE OCEAN with that imposing drumbeat by
another George continues with the intelligence of the endless choir; The shimmering, soothing, and addictive
outro/coda is a delight.

"As One," featuring Antonia, Sofia, and Emi on intricately woven strings, with a Greek island folk choir serving as
a subtle and unique interlude, introduces "The One," which reprises Whitman's lyrics at a frenetic pace with an
eloquent riff and guitars roaring with pleasure. Dimitris and Nikos's violins cast a spell over the air before Kostas
treats us to a heavy guitar solo, the violins returning in a neo-classical vein. A baroque instrumental moment
reminiscent of Muse. "The Circle" establishes a mainstream feel, with its phrased, sung vocals and ethereal
instrumentation, ideal for a moment of respite from the past excesses. The tone is set with George recounting a
deadly possibility or the potential for a saving respite; a predictable title. "The Sun," with its distant bell and
female choir, opens the long track: a grandiose, Olympian intro with all the necessary trappings. The Spartan-like
ascent on this galloping riff unleashes a profound, ineffable, cinematic tension. The titanic spoken word returns
over the choirs, the growl leaning against it. George revels in his monolithic clear voice on this imposing
crescendo, reminiscent of a video game where you have to destroy titans. The ethereal finale, with its Greek
narration, reinforces the elegiac feel of the piece. "Death" arrives for this overly beautiful finale, the female
voices playing a significant role in reciting a Dickinson poem. An ambient shoegaze folk melody, the scarlet
violin, evokes the soundtrack of 'Silent Hill'; far too short.

The album that cemented my metal-prog vision, which I mentioned in my review of the previous release?it's a
shame the synthesizers aren't credited. The quintessence of modern, cinematic prog metal.

JOHN HOLDEN Thresholds (Neo-Prog, 2026)

Sun, 11 Oct 2026 15:50:04 EST

Review by tszirmay —
Multi-instrumentalist John Holden continues on his yearly campaign of delivering one quality masterpiece after
another, "Thresholds" coming on the heels of last year's "The Great Divide". For this seventh album, he has taken
over the entire instrumental spectrum, inviting in four of the finest vocalist currently in the UK prog scene, three of
whom already having a history with John: the incredibly prolific Peter Jones (Tiger Moth Tales, Camel and a zillion
other sessions), Sally Minnear (Dave Bainbridge, Dave Brons, Zopp, Peter Gee, Pendragon), Joe Payne (Methexis,
The Enid, Haven of Echoes) and new recruit and making her Holden debut Sertari from the latest version of
Karnataka. The concept or inspiration "is about crossings, awakenings conflicts , inheritances and quiet sparks that
form all of us ".

The ornate piano sets the setlist in motion with "Seven Ages", synched with a panoramic orchestration that exudes
both growing grandeur and maturing freshness, the crisp electric guitars, thunderous bass and drum programming
joining in the birthing parade. Peter Jones enters as the heady years of early youth , dependant on parenthood that
parallel the eventual passage into adulthood. This piece reminds me of a story I had read once a very long time ago
that explains the stages of life, words from an astute Chinese elder: Everyone goes through more or less the same
seven stages. From 0 to 18, under the aegis of sensible and loving parents a child learns about life. Then from 18 to
28, we make every possible mistake, mostly out of lack of experience and wisdom (getting married/ not getting
married, abandoning school, rebellion and making bad decisions). Then from 28 to 38, reflecting on all that went
wrong and its consequences. 38 to 48, finding solutions and planning to right the wrongs. 48 to 58 succeeding (or
not) in finding a healthier and calmer life balance . 58 to 68 are , hopefully the golden years. 68 to 78 (or longer)
time has less meaning than ever before and you find peace in the knowledge you have lived a decent life. Splendid ,
as expected.

A seductive recalling of how we all really remain who we are, the foundations just as valid in the construction of life.
Sertari has a technically undulating voice that fits the subject material, as John's bass takes the high road,
meandering through the same channels navigated by the vocalist. 'Plus ca change , plus c'est la meme chose'. It's a
bluesy prog rocker that hustles and bustles along like a fireworks display in the night. A touch of honky-tonk piano
and guitars gives this a decidedly Americana feel that presages the next epic track.

"Mohawk River " refers to the Haudenosaunee communities who helped build the sprawling skyscrapers and steel
bridges of New York and elsewhere, as they possess a sense of balance at vertiginous heights that failed the
Caucasian immigrants. Joe Payne and his leather lunged delivery is a highlight (excuse the overt pun), the soaring
notes dizzying as it relates to the collision between the traditional and the new industrial world that had to
encounter. The vertigo-inducing synthesizers and the spiraling metallic guitar constructs are neatly incorporated in
an expansive sonic canvas, where every sound feels organic and even tribal, even though iron and concrete
imagery rule. The symphonic upturn cranes the necks as eyes gaze up into the wide blue yonder. This piece could
have been covered by US band Quivira, whose members are indigenous musicians. 13 minutes of celestial
gratitude for the efforts of those who do not get the rightful recognition. They do now.

John Holden takes on a 007 score, "Zero Minus" pays homage to the Bond flicks, whose music, let us be honest, was
spectacular on more than one occasion! Spectral sonics, harrowing Largo slashes, monster blasts, and more peaks
and valleys that Switzerland has to offer. The bending electric guitar parts are ultraclever and fantasy-laden. Sertari
does her Shirley Bassey cameo to perfection, diamonds are indeed forever.

Peter Jones reclaims the microphone on the heavily tectonic "Surrender", trying to find meaning of the human
condition has puzzled humanity since that unfortunate garden in Eden. One of the most common denominators
among historians, is that nothing has really changed fundamentally since the dawn of time except for technology.
Argument, strife, conflict, crime, war and genocide are just various levels of human stupidity. Nothing new, it did
start with one's birth. Musically, the windswept sandstorm reminds us that there are certain places that will never
change, whilst others have overcome the most bitter of challenges. Hope remains eternal. Think of the positives
and stop complaining.

A gorgeously edified tear-jerker "A Silent Spark" has Sertari emoting on a level that will give one goosebumps, as it
segues perfectly from the preceding piece. A reminder that Shalom and Salaam mean exactly the same thing.
Peace, kindness, respect, compassion and love will always overcome the ills of the world. The melody proposed
here is simply celestial, the voice crushingly poignant and the instrumental crescendo (and its guitar filigree) soaring
into the purest bliss. Really loved this track?gulp!

Smooth like velvety silk , "If I Knew" is another masterful performance from both Jones and Holden, within a mature,
almost Steely Dan-feel that pushes the thresholds of vocal control (man, what a singer Peter is!), the bristling sax
interfering with the jumpy keyboards, the sizzling guitar foraging like a hungry heart, yearning for the truth or at the
very least a sense of understanding what the hell these Seven Ages are really all about. Finishing off with a recap of
the introductive theme caps the deal. WOW!

Feeling so comfortable with John's musical style seven albums in, my attention really veered into the spirit of this
album, instead of the chopzilla effects, looking for the meaning behind his compositions. Its not very often I get to
wax poetically about feelings instead of frets and ivories. I guess that means that the underlying impact was way
deeper than just progressive music after all.
5 tolerances

SCARLET THREAD Dreamcatcher (Prog Folk, 2014)

Sun, 11 Oct 2026 13:48:46 EST

Review by kenethlevine — The prog folk masterpiece "Never Since" was released only a year before this final SCARLET THREAD album, but
was actually decaying on a shelf for 5 years prior. During this time the band had essentially split. When Jani Timoniemi finally decided to usher it forth, he assembled an almost completely new group with a heavy rock focus, and not a string or wind in earshot, and a brand new rhythm section! He wanted to explore hard hammond and lead guitar based rock
whose connections to prog were at best feeble, for example the interminable song lengths.

The best we could say
is that Jani spent too much time reading tea-leaves and got bad advice. The worst is that he sold out everything
the band was best at for a pipe dream. Rarely has so raw a disregard for fans been so apparent, and when your
fans might number in the triple digits, that's not a lot to work with. He wouldn't even drop a few
breadcrumbs, or at least none I could find, even if "Aimless" and "Reason for Dreams" have tolerable moments. It
reminds me of French CAMEL devotees MIRAGE but they at least took 2 albums to slide from "Tales of the Green
Sofa" to "The Tyler Durden Project". The singing is dreadful but probably just what the project deserved. The stuff
of nightmares. 1.5 stars.

THE TANGENT Was (Eclectic Prog, 2026)

Sun, 11 Oct 2026 08:20:57 EST

Review by tszirmay — Andy Tilleson is one hell of a talent, consistently pumping out albums on a consistent basis , both in terms of quality
and regular pace. I discovered him with Parallel or 90 Degrees back in 1996, intrigued by the combination space
rock and homage to Peter Hammill, the band eventually becoming a side project that is still releasing in 2026 after a
long hiatus. But its with the Tangent that Andy carved himself into the prog history books, released the ground -
breaking 'The Music that Died Alone' in 2003, blowing away a completely unexpecting audience with two hard slaps
in the face. Firstly , a jazzier Canterbury direction was an immediate ear-opener as well as adding saxman David
Jackson (of VDGG fame), the hyper-talented solo artist Guy Manning , as well as three erudite members of the
Flower Kings, namely guitarist extraordinaire Roine Stolt and the tectonic rhythm section of Jonas Reingold and
Zoltan Csorsz (one of the finest ever, IMHO). What a beginning ! A slew of a dozen albums ensued , all of them
highly rated and much loved by the community (I personally still worship the first 4 albums to this day). Two years
after the one-man show "To Follow Polaris", here is another singularly massive leap forward (or above, as you wish)
, "Was" is perhaps the culmination opus of his celebrated career and may very well finish as the most impactful
release of 2026. It has everything one can possibly hope for, including the presence of guitarist Luke Machin (the
current axeman in prog) and the arrival of one of my favourite bass players, the sensational John Jowitt. Good old
Theo Travis handles the brass and wind instruments with his usual brio, while keyboardist Rob Groucutt (Rain, Phi
Yaan-Zek) and veteran drummer Steve Roberts (Magenta, David Cross Band, Godsticks) fill out the splendid line-
up. Long album = lengthy review?.

The original cover also drew me in (contrary to many younger folk) as I knew what a rotary dial telephone was. Get
it? ?WAS ! CD1 kicks of with the homage to the past (a concept many seem to disavow) , the title track a leviathan
clocking in 22 minutes and some change. For the first minutes, I thought I was sitting in an opera house, the
tuxedoed orchestra settling in with a symphonic intro for the ages, past, present and future. This is how you get the
juices flowing! Jowitt then takes over the baton, guiding the rock band gently into an altogether ethereal realm of
sound, chock full of effects relating to the Cold War, as opposed to the hot one coming along later on in the
broadcast! Andy's voice is barely a crushed hush, as the progression vaults into a full-blown prog epic, taking its
sweet time in blooming into a broader version of the initial dazzling melody, flutes waltzing along in full support,
smoky mellotron memoirs sitting atop the burly organ and puzzling shards of thoughts making complete sense.
Instant Karma, Jean Genie, Vietnam, napalm guitar, the deepest purple coloring the heep of uriah, sly stones etched
on the doors , hey its only rock and roll, after all! A dolly dagger. Nostalgic? Powerful ? ya damn right! No hint of AI
on the horizon, just music in its purest form. Luke seals the deal with a high octane electric (oxymoron?) solo that
jimmies like there was a tomorrow left in Ladyland.

A mini-5-minute intermezzo "Follow the River" is classic The Tangent, saturated in archetypical British eccentricity,
bopping along like a barge on the Thames, the wavy saxophone delighting us with sassy brass, rivulets of flowing e-
piano, robust bass construct and a drumbeat based on bashing hard but good (Hey Ringo!). Finger snapping finale,
lads! This would be the perfect segue for Talking Heads' "Take Me to the River".

"Was Not" keeps the balance with an opposite but similarly sized 21-minute exercise, soaked in whimsical
melancholia, at first with voice and orchestrations that blossom into an expansive fantasyland laden with
generational memories, historical anecdotes relating to WW2 (bunkers and V1s) and assorted recollections of
unreal realities. There is nevertheless a lightness to all the harrowing tales, the guitars stodgily pastoral, buttered
with assortment of effects and perhaps even a dollop of marmalade skies. Lucy is still looking for her diamonds.
The e-piano carves quite the furrow, happily clasping the Jowitt bass guitar's neck in the process. Nostalgia for the
future indeed, but the music comes across as effortlessly 'au naturel', such as the brief appearance of vibraphone,
signalling an experimental deviation, that will lead to whistling synthesizer passage, fluttering merrily over a tight
rhythmic convulsion. Luke slices through with a blitz solo that scours the darkened horizon where the black crossed
Junkers fly, while the ak-ak is supplied by a sputtering Hammond organ surge. 21st century psychedelia at its finest,
oozing some well-deserved funk into the strategy for good measure, spitting fire within the hurricane, as the Home
Guard looks up at the spiralling circus in the sky, unyielding to the fear of defeat, yearning for a better time ahead,
always maintaining a sense of humour , hello? What an epic ride!

Then comes the all-instrumental CD2, another nod to you Francophiles (or fans of French cuisine), a trait that has
been inserted a few times into the Tangent history (Down and Out in Paris , and Le Sacre du Travail). Being French
educated, this creates a certain sense of belonging that makes it personal, as I do not require translation. Five
tracks, four 'hors-d'oeuvres' and one 'entr]]>�wine pairing to satisfy the most finnicky of palates. "L'Ap]]>�or even a Kir Royale, getting the digestion of impending delicacies all spruced up, an instrumental 'tour de force'.
" Le Steak de Chevreuil et le Fermier" (Deer steak and the farmer) is a where the musicians get to cook up a storm
with a ridiculous display of technique, the mise en place perfectly dosed out for maximum flavour, the pots boiling,
the pans saut]]>�
What better way to digest than getting up and dancing before the dessert arrives. "Danse" is a thrilling ensemble
cast that understands mood, passion and atmosphere (three very French cultural attributes), a reverie of ambient
Monet scenes, jazzier concoctions that look back to the Belle Epoque, over 8 minutes of extraordinary rhythmic
tremors, elegant piano ]]>�so as not to offend any purists.

"La Route Coti]]>�want to add Normandie as well. So, settle into your Matra GT, and head out on the highway and exalt in the entire
maritime Tour de France. It's only a tad less than a ten-minute ride, and you get to explore the 'beaut]]>�'h]]>�if desperate to get to Mont St-Michel, before the tide washes way the passage. Machin seems to be inspired by the
guillotine as he slices like a 'sans-culotte' on a series of frenzied 'tirades'. Travis's flute adding delicacy to the core (or
'coeur' en francais).

Within a safe 15 and three quarter minutes, "Multi Partisanisme", a clever little that rekindles France's tradition of
having as many political parties as inhabitants (De Gaulle's famous 'fromages' (cheese) remark. With a long tradition
of fiery barricades, open rebellion, endless upheaval, and of course, good old-fashioned rioting, Andy takes on this
historical reality with a massive amount of cheek, abundant in playful musical teasing, remindful that the Gallic
tradition has offered the world many wonderful foundations.

Tillison must be considered as a generational talent for his body of work, but this album consecrates one of the
most imaginative minds in progressive rock. In a current world of endlessly marketed IS, I prefer my fond
reminiscences of WAS.

5 phone dials

THE TANGENT Was (Eclectic Prog, 2026)

Sun, 11 Oct 2026 05:09:21 EST

Review by Hrychu — I "borrowed" the album in .mp3 and listened to it. I think it's as good as one would expect. The change in lineup, with John Jowitt taking the place of Jonas Reingold as the bass player, and the addition of Rob Groucutt on keys is absolutely unnoticeable tbh. The two epics on disc one are classic Tangent and they're once again well written, well performed and beautifully arranged, but at times, I get a sense of Deja Vu. I feel like I'm listening to a re-shuffled version of some mashed edition of Songs From the Hard Shoulder and To Follow Polaris. The lyrical themes of reminiscing, confronting nostalgia and "the past vs. the present" have been Andy's lyrical comfort zone for a long time and here, it's almost like he's running the same checklist again. Mixed feelings tbh. I tell you what, the band really fricking shines during those parts where Andy decides to shut the heck up and just jam. The mid section in "Was Not" is gorgeous, especially the soaring lead guitar. Overall, Luke Machin's guitar solos are meticulous works of art, and they bring the whole quality up a tier, as they have consistantly done so, in terms of The Tangent albums with Machin on board.

Follow the River is a fun lounge pop jam but the crooning style vocals verging on spoken-word (rap? lol) feel incredibly shoehorned in.

So that brings us to Disc 2, which is this big instrumental "rock symphony". Honestly, it's not as strong as Disc 1. I think the pacing kinda jumps around between "standard The Tangent" and this weird "soundtrack to an imaginary soap opera" experimental piece. I had the exact same issue with Papillon by Latte e Miele. They followed a similar structure: "prog rock / light music / prog rock / light music", rinse & repeat.... to an underwhelming effect imo. The quiet piano-driven moments with pizzicato strings keyboard textures give off mostly a sense of Andy trying to pad out the whole thing. ]]>��

Unfortunately, the album's biggest downside is in fact the vocals. Andy's voice, in terms of physical shape, is at its lowest point, I'm afraid. Maybe it's time for The Tangent top get a new lead vocalist. I wish the band would do the vocal tag team like on their first two albums. 4/6 of the band members are credited as "backing vocalists", so I think they missed the opportunity. Anyways, you know what I'm gonna say. xd I think that the album closer ]]>��

Am I gonna buy the album? Man, tough choice. Probably not yet.

LESOIR Tomorrow Is Now Today (Crossover Prog, 2026)

Sun, 11 Oct 2026 03:55:24 EST

Review by alainPP — "Is It Nothing?" features an echoing, building beat set against an ethereal prog atmosphere; then, suddenly,
Maartje's voice cuts through the orchestral sound?reminiscent of Mostly Autumn but with a touch more
modern rock wildness. Ingo's guitar solo takes on epic proportions, swelling alongside the driving drums. It is
breathtaking heavy art rock that flirts with post-rock; the gut-wrenching, Gilmour-esque solo is flawless. "Back To
You" offers an acoustic ballad?melancholic folk with weeping violin and addictive drums. It has an airy feel, a
dash of Oceansize and Fleetwood Mac, and a captivating serenade with stunning vocals; emotion and hope
abound, accompanied by spellbinding backing vocals. There's a hint of Anathema's languid third era here.
"Hidden Fire" is a pop-folk track built around Maartje's enchanting vocals, with the bass adding a touch of
restrained aggression. The folk-meets-Middle-Eastern break invites you to dance, while the stratospheric guitar
finale is simply sublime?not a note wasted. "Nadeli" begins with an acoustic intro before unfolding into a linear,
building instrumental that showcases the band's progressive evolution. Simple yet effective, with Ingo at the
helm; just wait for his solo, and you'll understand. In short, an instrumental that flows effortlessly and is instantly
addictive.

"Free Pass" opens with a John Carpenter or Tangerine Dream film-score vibe. It explodes into punchy heavy rock
?echoes of The Cranberries in the distance?showcasing the energetic reminiscences found throughout this
new album. The track drifts along with soft, smooth, enchanting vocals and a bewitching bassline. It is a delicate
exercise that settles into a proggy, Wall-esque break?a velvety sound that makes your head spin. The return of
thick synth lines and a hard-rock explosion that'll blow your mind. 'La M]]>�a delicate, Meccano-esque piano and atmospheric pauses alongside crystalline guitar work, shifting from
ethereal post-rock to a heavy, punchy interlude. 'Stay Close To Me' follows with airy vocals for a folk ballad; with
Iona at the helm, Lesoir leaves their mark through radiant acoustic guitar. 'Pendulum' returns to the band's
signature sound: syncopated drums over thunderous bass, piano softening the atmosphere, and Ingo
channeling a bluesy vibe. It's a progressive instrumental featuring a soulful, emotionally charged guitar solo and
a frenetic violin-driven finale. 'Army Of Love' moves at a slow tempo punctuated by diffuse piano notes;
reminiscent of The Gathering, this track blends atmospheric doom-rock with a final, explosive guitar burst?a
sexy rock vibe reimagined with a grungy edge. 'Tomorrow Is Now Today' closes the album with a signature Lesoir
rock journey, featuring opalescent piano set against reverberating bass.

Lesoir moves beyond personal experiences to cast their gaze upon the modern world. Fans of emotional,
crescendo-driven prog-rock will delight in these ambitious, cinematic compositions that bridge the gap between
ethereal rock and multi-layered instrumental explosions.(4.75)

CRYPTIC SHIFT Beyond the Celestial Realms (Tech/Extreme Prog Metal, 2016)

Sun, 11 Oct 2026 01:01:39 EST

Review by UMUR — "Beyond the Celestial Realms" is an EP release by UK technical/progressive death/thrash metal act
Cryptic Shift. The EP was originally independently released in digital format and on CD through
Fractured Mind Records in April 2016. The original version featured 5 tracks and a total playing
time of 23:05 minutes. A 2023 reissue of the EP re-titled "Return to Realms" features 5 additional
bonus tracks (earlier recorded demo tracks) and therefore has a total playing time of 51:35, which
is of course an album length release.

Stylistically Cryptic Shift play a technical and at times dissonant technical death/thrash metal
style. It]]>�predominantly thrash metal oriented music there is at times a death metal touch to the sound. The
vocals are also somewhere between death metal growling and raw shouting thrash metal vocals. None of
the material from "Beyond the Celestial Realms" or the preceding demos ended up on Cryptic Shift]]>�debut full-length studio album "Visitations from Enceladus" (2020) and there is a reason why that
is. This is simply much more straight forward material than the progressive oriented material found
on the debut album. It]]>�still a high level of technical playing skills needed to perform this and the songwriting is also
quite intriguing, so it]]>�impressive.

"Beyond the Celestial Realms" features a professional studio sound production and it]]>�powerful, raw, and detailed sound production, which suits the material well. Naturally the demo
tracks featured on the reissue version of the EP aren]]>�enough, and some can be enjoyed as raw blueprints of the studio versions which open the EP. A 3.5
star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

TARUJEN SAARI Levoton Hauta (Prog Folk, 2002)

Sat, 10 Oct 2026 19:40:00 EST

Review by kenethlevine — An album dealing with the subject of death from various angles including that of a couple of ravens, as well as
good old fashioned murder ballads, is hardly anomalous in the folk realm, but comfortably, even gleefully,
cranking one out just 2 years after celebrating sacred animalism is another matter. Yet that's what TARUJEN SAARI
has achieved on "Levoton Hauta", meaning "the unquiet grave" and commenting on all manner of mortality and
morbidity.

We have heard the mellotron, and us folk die hards have heard the hurdy gurdy, but where before have we heard
the hurdy gurdy played like a fast mellotron, which serves as an immersive induction to the album in the brief yet
impactful "Pirunpolska" ("The Devil's Polka(!))? The next 5 tracks are as good or better, with the sweet yet menacing
"Mullaksi maatumaan"'s theme of decay back to the earth that even cremains must endure; a superior and more
concise version of "Ballo in fa diesis minore: which had been done to sprawling commercial and artistic rewards in
1977 by ANGELO BRANDUARDI; and the fratricidal epic "Riminin Veljesmurhat", with two distinct and seamless
parts sounding like CORDE OBLIQUE when they were still LUPERCALIA. This is certainly the best version of "Twa
Corbies" I have heard, and "L'Ecolier Assassin" is the equal of the MALICORNE version. Unfortunately the final and
title track, implementing the melody made perhaps more famous in the last 150 years as "Star of the County
Down" is a letdown, partly because it's so dirge like (duh) but also maybe because I needed a pick me up by then!

Though "Hepsankeikka" might have been the commercial peak for TARUJEN SAARI, this may be the underground
pick especially in the Nordic prog folk community, the people that won't go quietly when it comes to their ever
more quiet favorites.

PLUTATO Pluto Potato (Jazz Rock/Fusion, 2023)

Sat, 10 Oct 2026 19:12:35 EST

Review by Fercandio46 — If the warning "don't stick your fingers in the socket" exists, the guys from Plutato, over in Taiwan, paid it no heed.
After all, their music is coursing through fiber optics. The saxophone rings with echoes and multiplies, sounding like
ten saxophones; the keyboard, more subdued, evokes Ryuichi Sakamoto; and when the drums kick in, the rhythm
is complete. There is a Latin touch to "Highway to Home," and the synthesizers sound like racing guitars.

The trio's premise, evident right from the album cover, of blending technological and organic energies while staying
grounded in the earth, carries through into their music. Earthset is the saxophone... it is the Rhodes, but it also
encompasses the intrusion of sounds triggered by a portable modular synthesizer named Pluto.

"Sky Full of Satellites" becomes more addictive with repeated listens, revealing its true vintage-disco intent, though,
naturally, nothing is conventional with Plutato. Here, they employ the vocals of Cait Lin (a prominent Australian-
Taiwanese jazz and soul singer), processing them to fit the track's space-age style; at the same time, the song dusts
off the "handclap" effect and features a saxophone as evocative as Stan Getz's in the 1960s.

"Spaceship" is one of the album's most ambitious compositions, with traceable influences from American
saxophonist Kamasi Washington evident in its irregular meters and asymmetrical time signatures, which give it a
progressive character.

There is fine craftsmanship in "Help the Old Lady Crossing the Street Please," where the trio adopts a classic jazz
sound and, with the inclusion of strings, reaches another dimension. One could say that the essence of nu-jazz, as
well as jazztronica, resides in "Ne Znam", amidst classical piano notes and those floating synthesizers that suddenly
plummet, transmitting their vertigo to us, mere listeners.

"The Little Match Girl" is very special because Will'z Chieng (piano), Justin Liao (tenor sax), and Cheng Chia Fu
(drums) take Hans Christian Andersen's tale (which I read as a child and never forgot) and improvise music to
illustrate its various moods. First, the cold and the wind... and finally, that warmth, as magical as it is fleeting, with
the striking of each match.

"Carousel" features an off-kilter rhythm where the drums and keyboard clash, with the saxophone acting as a
mediator; once again, asymmetrical rhythms pull apart what the saxophone, with its melodic warmth, binds back
together.

Best of all, after hearing Plutato's debut, one senses there is still plenty of ground to explore in this realm,
suggesting that space might not have been "the final frontier" after all.

ZYMA Thoughts (Canterbury Scene, 1978)

Sat, 10 Oct 2026 19:10:44 EST

Review by Fercandio46 — The backing vocals recall Magma, and the jazz-rock sound is magnetically captivating, much like the voice of Dorle
Ferber, which bore an uncanny resemblance to that of Renaissance's Annie Haslam. All of this is present in
"Thoughts," the opening track and title song of the German band Zyma's debut album.
While G]]>�Hirt's clavinet shifts into a funk groove, creating a highly original blend of styles. To top it off, Dorle Ferber plays the
violin, adding an ethereal, delicate layer that, anchored by Bodo Brandl's bass, seems to touch the clouds. And the
best part is that, just when things were getting most complex, they would come back down to earth with deeply
moving rock 'n' roll and a pub-rock vibe.

Following its introduction, "Businessman" becomes a veritable juggernaut of sound that sweeps everything before
it; synthesizers, bass, and violin act as a driving force while the Rhodes sets the rhythm, recalling the compositional
style of Jean-Luc Ponty and his band. Dorle's vocals add melodic lines reminiscent of Annie Haslam, and the band
improvises with the energy of a live performance, capturing a studio magic that should never have been
abandoned. The sonic tide rolls on, the bass keeps the momentum high, and the clavinet gets contagiously funky
while the synthesizer unleashes a sinuous solo that weaves through the entire track.

"One Way Street" builds a powerful melody through the vocals of Dorle Ferber and Meinrad Hirt before descending
into Frank Zappa-esque chaos driven by percussion; this gives way to a jazzy passage featuring the distinguished
touch of John Tout and Celtic violin elements, eventually shifting into dissonance and funk, alongside classic backing
vocals that immerse the listener in the legendary, madcap world of Hatfield and the North.
Amidst both classical echoes and bolder rock, there lies the alchemy of the Dutch band Earth & Fire, a magical
quality driven by the harpsichord, particularly through its contrast with the period violin and a relentless, grooving
bass-and-drums foundation.

Zyma emerges as one of those surprises from the past, a discovery that renews one's love affair with music,
rekindling the thrill of being startled by an unexpected note or a chord that strikes a deep, personal chord. This
album delivers all that and more. "Wasting Time," the final track, showcases the band at its best, featuring backing
vocals and harmonic rhythms reminiscent of a collaboration with The Singers Unlimited.
Amidst this dizzying, improvisational rhythm, rich in harmony and melody, whether delivered with subtlety or
explosive energy, through experimentation or a sweet, siren-like whisper, Zyma leaves its mark in a distinctive,
circular signature.

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

Sat, 10 Oct 2026 15:52:54 EST

Review by tszirmay — I guess tomorrow is finally today. After so many decades of brilliant music, Scottish legends and prog pioneers
Pallas have reached the pinnacle of their craft. 2023 had already raised the bar with "The Messenger", a recording
that was so enjoyable it verged on preposterous ! When Alan Reed was recently interviewed by yours truly on the
Prog Rogue channel as well as on YouTube, we all learned that he plans to retire from live action for health reasons,
a September farewell concert in Scotland, taking a well-deserved bow for his illustrious career. His singing on this,
his last hurrah, will go down as added legend.

The aptly titled "Reset" lays down the Pallas recipe with controlled perfection, serving as your archetypical heavy
prog intro with colossal orchestral symphonics, marshaled by a bristling bass offensive and programmed drums
that are going to convert the many drum purists forever more (a dual effort from Niall Matthewson and Ronnie
Brown). Alan Reed has that heady combination of lung power and velvet touch that can only inspire the lush Brown
keyboard flood, inserting layers of synthesized glory like there is no tomorrow, its now or never. Things get
downright aggressive on the tumultuous "Rage", with bass legend Graeme Murray creating hissing low-end missiles
that seem to be propulsed by nuclear reactors, the drums pounding like siege warhorses bent on piercing any
resistance, and Mathewson' s effect-laden electric guitars bolding slicing through the sulphurous haze.

Temporary reprieve with Natasha O'Neil's child-like vocals on "Song for Tomorrow", a misty lullaby with tingling
backdrop, as fragile as the wind. The sheer audacity of revelling in a pool of ambient sonorities is compelling,
especially in view of the fact that the gothic upsurge half-way through is beyond cinematographic, it's utterly
exquisite. The thunder, the lightning and the despondence is commendable, suddenly extinguished by a return to
sheer filigree of the commencement.

The sonic structure is set up so that the epic "The Private Collector" receives the warranted spotlight, a gradually
developing chant that is two cracked marble steps away from some gruesome horror tale. Though lumbering along
in neo-apocalyptic terms, it remains highly melodic, though veering from sombre to reflective, layered with
numerous vocal and instrumental detail and never overstating the mood. Soundtrack prog strikes again, as time
stands still, just for a moment.

A couple of 6 minute + pieces keeps the foot on the pedal, showing little remorse in maintaining the course (poetry
in motion) . First up, the exalted "DIRT" a track where Reed emotes like a man possessed, certainly drenched in
heartfelt dramatics, twinkling piano being the only salvation from the hallowed resistance. Murray's bass takes over,
changing the grim direction only so slightly, setting up teammate Matthewson' rippling multi-forked flurry. Five
tracks in and I am already convinced 100%.

As if a moment of introspection was severely in need, "Aspirations" conveys exactly some semblance of warmth and
the obsessive echo of 'happy smiling people', surely a mirage of hope or even desire, hanging on to some thread of
salvation that may just bring about a new revelation. Midway through, the acoustic guitar seems like a distant cry
from the past, while the mellotron keeps the despair somehow alive. The onrushing sonic tsunami that provokes
the solemn apotheosis is stupendous by the nature of its restraint. Unreal.

As if "Rushing Headlong" would not reveal its true intentions right from the onset, Pallas put up a throttling ball of
confusion that fizzes as if overtaken by static, showing a modern gleam that proves how well thought out their
strategy was to record this kind of album, arguably their finest ever. The chaotic impression is palpable, a rightly
tortured glance ahead into the future, where time and space are nearly becoming invisible. Egads!

Perhaps a fine description of how the 21st century has been a bitter disappointment, "The Avenue of Broken
Dreams" is 2026 's version of King Crimson's "Epitaph", 'a cracked and broken path' that just might not ever resolve
itself into a peaceful future absolution. 'Plus ca change', we need not guess no more, because we know now that we
are doomed once again to fail. The arrangement is a brooding ceremony of despair, stunningly accurate in terms of
sound sculpture.

Solace is found in the womb of maternal protection, the first and only refuge. "Mother" may be the last panacea,
the final frontier, and the ultimate comfort. Piano, voice, crushing lyrics and spectral symphonic pain. I am at a loss
of words of just how poignant Alan Reed's delivery comes across. In fact, I feel helpless without being near my
mommy.

A final dazzling epic to end this voyage into the unknown, a future even AI could not envisage "Inside Outside" is an
assemblage of everything written before on this page. The eternal collision between opposites, entrenched in a
melody so overwhelmingly beautiful, that it just might heal the broken heart. The wind breathes silently and then
gasps in agony. The guitars screech, the riffs pound the pavement, where the grass has long ago disappeared. The
rhythms never seem to surrender and hush in peaceful silence, a prog berceuse, swinging from inside to outside,
back and forth , for evermore.

There will always be a song , but will there be a tomorrow? Surely among the very best of 2026.

5 citadels of fate

RIFFSTONE Zodiac (Symphonic Prog, 2026)

Sat, 10 Oct 2026 14:10:17 EST

Review by tszirmay —
Now that I am back in the reviewing saddle again, after a sensational 3 week European holiday, I have all the proof I
need now to boldly state without any hint of error, that both Dave Allen and Colin Powell are insomniacs, who sleep
perhaps a few hours a day, spending the rest of the 20 hours at their disposal continuously recording between
occasional helpings of curry or fish and chips. Retired life, wot? Being educated in common law, here is the crucial
and uncontested evidence: Spirergy is mister Allen's project and since 2023 he has released 3 albums (all
magnificent). A Multitude of One is mister Powell's venture and in 2015 produced 3 recordings and from 2017 to
last year, pumped out 5 albums. TOGETHER with Riffstone , the two have blasted two 2025 albums and a trio in
2026 . My first refutation: if they claim innocence, circumstance or happenstance, my first rebuttal straight out of
the Genesis catalog, quoting some barrel called Harold : "You must be joking, take a running jump!" All five are
stellar monuments to the horn of plenty with "Sanctuary Sky" and "Great Journeys" being absolute jewels. Well, the
12 signs of the Zodiac have propelled this duo even higher into the rarefied air of Prog genius with this sizzling (and
unannounced) release that landed only recently into my overtaxed inbox. And the cover art is sumptuous, a real
gem, one of the few things AI can get right when properly prompted.

The grandiloquent "Aries" finds our two cosmic travellers kicking off the astral promenade in full form as expected.
In fact, I could not help noticing a distinct 70s Steve Hillage sensibility, evident in the forceful up-front bass
virtuosity, the angelic vocalizations and the resonating electric guitar overlays. Adorned with swirling "cynthia size a"
swaths, the powerful ram locks his horns into a warp 3 vortex and blasts straight into the blackest void. Toss in a
clever Yes-ism crescendo and presto, your future fate is now sealed.

Combining both a Venusian romantic swoon as well as resolute patience that is characteristic of this sign, "Taurus"
(my celestial home), the arrangement manages to represent both lyrically and musically the attributes of this
cosmic creature, throwing in narration in contrast to the velvety guitar weavings, the bulbous bass and the
percussive hooves scratching the emerald sands of time.

"Gemini" is surely the most controversial of all the horoscope sectors as it represents the closeness of extremities
and the duality of creativity, as if divided by one. As such, the basic presentation is interestingly linear at first glance,
yet suffused within a myriad of sonic detail, elevated by the lyrics and an acoustic slant. The vocals are softly silky,
almost like a child looking up from a crib into the star-lined galaxy.

It should not come as any revelation that "Cancer" cooks up quite the frenzy, it's a rather ebullient sign by nature,
and the duo waste little time in getting the throttle into full gear. An abundance of slippery synths swerve within the
high-pitched vocalizations (oooh, those high notes!), liberating the intricate guitar experimentation to boldly set a
course far into the golden void. There is a smooth Rush-ness to this piece, highlighted by a bass rumbling along like
a crab on a sandy beach. The dual voices are masterfully concocted, lead and harmony in synch, with perhaps even
a bit of vocoded additions.

Proud are the electronic synthesizers on the majestic "Leo", the pulsating rhythmic ignition domineering as it is
imposing its will. The lion king will come once again to show who is boss and worthy of respect. The electric guitar
mane is noble in its efficiency, the vocals definitely off the charts, a soft and passionate roar set within a grandiose
melodic construct that defies any challengers. A masterful combination of grace and power.

A certain calmness awaits on "Virgo", the initial virgin piano making its first appearance, eventually seducing a more
forceful electric guitar streak that sets the melody into the foundation. Fluffy clouds of sound within a blue sky and
bright sunshine, a reflective universe of purity and peaceful nature. For a while, I could even imagine Jon Anderson
singing, as it has that astral delicacy made famous by the Yes man.

Back to balancing the karma between two extremes, "Libra" suggests a typically complex progressive foundation,
the bass ripping like a deranged zipper, opening up folds of musical equilibrium, which begin with imposing choir
work, 'where the darkness meets the light' .

No surprise that "Scorpio" would seek to advance the heavier sound, an asteroid away from something Hawkwind
may have written back in their 80s catalogue, a cosmorock tune with both synth and guitar solos to add some
boosters to the rising phoenix with an over-the-top vocal screech for the ages. A musical eight-legged arachnid with
pincers and one hell of a stinging tail to inject some venom into the mix.

Acoustically pastoral and folky, "Sagittarius" settles into a dreamier realm, that nevertheless proposes another fine
example of how the duo have really brushed up their already proficient vocal deliveries, with atmospheric backing
voices that interweave with impeccable precision and overpowering effect. A modern-day Moody Blues/Barclay
James Harvest touch is most welcome.

"Capricorn" selects a nearly medieval feel as preformed on their earlier albums, some pumping organ adding quite
the touch, a lilting voice telling the story of the solstice light, the keeper of years and the winter sun beginning to
turn . The apotheosis comes on a glorified mellotron /electric guitar elevation that shoves the mood straight into a
distant exploding supernova.

There is a natural fluidity to "Aquarius", once again steered by a flowing bass guitar 'squire' that easily recollects
visions of cascading torrents as depicted by the Roger Dean covers for the classic Yes albums. The stinging guitars
show 'howe' its done, the keyboards 'awakeman', the percussive maintenance of 'white' thunder, all combining to
'break the chains that hold us down'. Gloriously, only the voice stands alone as it should. In the wake of Poseidon,
'ancient promises are kept' on the lilting "Pisces", a floating melody that seeks no quarrel with complexity or even
strangeness, just a faithful siren song , 'like the ocean, wild and free'.

Seemingly, I am not the only rogue in Prog land as these two lads are certifiably bonkers, just like me ! Since every
listener/reader will find their representative track that corresponds to their sign, this is quite the marketing coup
LOL. Clever lads, these! Next album, what? ?perhaps by early 2027, eh?

5 rubber dinghies

GRYPHON Midnight Mushrumps (Prog Folk, 1974)

Sat, 10 Oct 2026 10:52:39 EST

Review by A Crimson Mellotron — Gryphon released their sophomore studio album 'Midnight Mushrumps' in early 1974, following up their
well-received self-titled debut. This LP was recorded without any lineup changes and comes right
after the band had been contacted by the National Theater to write and record for a stage production
of Shakespeare's 'The Tempest'. Meanwhile, influential conceptual rock albums like 'Selling England
by the Pound', 'Tubular Bells', and 'Dark Side of the Moon' had come out the previous year,
partially influencing Gryphon's increasingly ambitious arrangements. 'Midnight Mushrumps' is
definitely more sophisticated than 'Gryphon', and the album's reputation rests primarily on the
excellent title track - a 19-minute-long suite that occupies the entirety of side one. This
beautifully composed instrumental piece works similarly to a classical symphony and introduces a
chamber folk aesthetic that beautifully complements the mellow, pastoral tones of 'Midnight
Mushrumps'. The well-executed transitions between the various complementary motifs that make up this
suite sound mature and carefully constructed, which is something the band's debut had lacked.

The other half of the album does not feature such fine performances, however, as the five tracks on
side two return to the eccentric folky nature of 'Gryphon', meaning that the songs feel a little
inconsistent and lack the suite's depth. An example of this is 'The Ploughboy's Dream', whose vocal-
led character feels somewhat out of place on a mostly instrumental album. All in all, the essential
component of 'Midnight Mushrumps' is the epic title track, showcasing the band's most accomplished
composition to date. This level of quality is not preserved throughout, as the less coherent
material on side two presents a less textured side of Gryphon's sound. Nevertheless, 'Gulland Rock'
and 'Dubbel Dutch' offer glimpses of a direction the band would explore on future releases, even if
this album as a whole does not fundamentally redefine the progressive folk sound of the period.

RED SAND A World Without War (Neo-Prog, 2026)

Sat, 10 Oct 2026 04:32:01 EST

Review by rdtprog —
Compared to Marillion, since their first release in 2004, I followed their career since then. This
Neo Prog band takes the symphonic prog style of music in a modern style. The songs are epic in
scale. Those songs, more often than not, start peacefully and slowly build in tempo to a faster
pace, with heavier guitar and solos. I notice this kind of strong structure in almost all of their
albums. But I also found that the inspiration of our 70's bands was missing. I don't expect to hear
a band that is as original as the best symphonic bands of that period, but something more
challenging to keep me wanting to go back and listen again many times. The band has continued to
produce albums since then, and this new one is different to me. Their song structure is not the
same, because you don't have to wait 5 minutes or more to hear more dynamic passages. Not only that,
but the inspiration is there, with sumptuous melodies and some beautiful instrumental parts. They
have created dramatic symphonic music with powerful guitar parts, lush keyboards, and nice vocal
lines. Their sound has not changed that much; you will hear the influences of other Neo Prog bands
that bring the punchier side of the modern era, with a strong bass sound and a steady style of
drumming.

CARTOON Cartoon (RIO/Avant-Prog, 1982)

Fri, 9 Oct 2026 18:06:43 EST

Review by Fercandio46 — As they entered the post-punk era, and did so as a trio, it wasn't just Cartoon's music and attitude that were anti-
establishment, but also the way they self-financed their debut: using winnings from horse racing. (In fact, they could
have even named it after the Marx Brothers film, were it not for the fact that Queen had already done so, though
with a rather different style of music.)

This trio, originally from Phoenix but based in San Francisco, could not have sounded further removed from the
local musical tradition; they drew inspiration from the London-born Rock in Opposition movement, and the liner
notes explicitly acknowledged Arnold Schoenberg (the father of dodecaphony and modern atonality) and Igor
Stravinsky.

The first track was titled "Shark"; it was dissonant and atonal, featuring blood-curdling piano passages that kept the
senses on high alert, much like in a horror movie. The guitar kept pace, building on the piano's foundation with
scales that were mathematically calculated rather than as chaotic as they might have seemed at first listen. There
was a fractured, deconstructed jazz element, reminiscent of The Lounge Lizards, who were pioneering the "Punk
Jazz" sound around that time, as well as stylistic touches that brought to mind Gentle Giant's Acquiring the Taste
album. When the keyboards kicked in, the sound took on an electronic edge akin to Magazine; Scott Brazieal
replaced the traditional bassist with atonal bass lines and classical counterpoint, while, much like Magazine's Dave
Formula, he wove dense, distorted layers of sound.

The classical piano opening of "Ptomaine Poisoning" recalls Keith Emerson's dodecaphonic adventures, while also
flirting with flamenco. When the electric guitar enters, the pieces of the puzzle fall apart, and dissonance reigns in
this topsy-turvy world, a realm where King Crimson and the French band Present converge, the latter led by
guitarist and founder Roger Trigaux, who had already been exerting influence for some time through Univers Zero.
Boasting a stylistic range enviable for a debut, "Anemic Bolero" is an acoustic marvel that takes the classic bolero
format and warps it ]]>�
"Flotsam" evokes the wilder, more playful side of Sammla Mammas Manna, as well as its more psychedelic side.
"Apathy in America" showcases the band's contemporary sound as it stood in 1981; they could channel a 70s vibe,
yet also embrace the New Wave style that, at the time, came to be known as "Zolo."

"Shredded Wheat" features organ and guitar arrangements that are truly more chaotic than ever, a pandemonium
closely tracked by the drums. The atonal psychedelia creates a lethal combination; the action suddenly halts as a
cabaret piano injects suspense, seamlessly shifting into humor. Crucially, this ceaseless frenzy never sacrifices
musicality or harmony, even on this "other side of the looking glass", a realm seemingly plucked from a Lewis
Carroll tale. And then there is that surreal cover art: rectangular and structured, yet simultaneously spherical,
elusive and unattainable, just like the music itself.

BOARDS OF CANADA Geogaddi (Prog Related, 2002)

Fri, 9 Oct 2026 18:05:37 EST

Review by Fercandio46 — A very suggestive title for the second track on the second disc is "Music Is Math," and the duo Boards of Canada once
again launches into their sonic assault, sometimes like fireworks and at other times subtly effective and organic, like
tubers that sprout and reproduce underground. There are choirs, a jazzy feel, a sound machine reminiscent of Kate
Bush and later Tori Amos (in "Strange Little Girls"), plus layered vocals in the style of Robert Fripp's "Exposure."

The cover of Geogaddi is a mandala, and on Gyroscope, one can make out psychedelic spirals and an Indian spiritual
aesthetic; looking more closely, silhouettes of people and tree cutouts become visible, there is much more than meets
the eye, just as in the music. Dandelion is another of the short interludes that, like Exposure, features soundscapes
and recorded voices that sound prophetic.

The balance between electronic gear and analog, organic instruments is key; in addition to samplers, sequencers, and
loops, Michael Sandison plays synthesizer, flute, and acoustic guitar, while Marcus Eoin plays a second synthesizer,
electric bass, and percussion.

Sunshine Recorder builds a hypnotic yet progressive soundscape, one that evolves and transforms, ending quite
differently from how it began. Fortunately, brief interludes breathe fresh air into the mix with a playful touch, and "In
the Annexe" evokes the timeless vibe of the seventies. Does the track "Julie and Candy" evoke the Syd Barrett era of
Pink Floyd with its sensibility? For me, the answer is yes, a sort of "See Emily Play" for posterity.

1969 is another highlight for me, with a captivating groove; plus, when the synthesizer seems to break down and turns
dissonant, it's as if a sunny day suddenly clouded over, and everything makes more sense.

"The Beach at Redpoint," with its layered synthesizers, creates a unique, symphonic atmosphere, stylistically linked to
"Opening the Mouth", revealing that the album's connection to India was no coincidence; nothing with them ever is.
"Alpha and Omega" resembles a tabla performance featuring a Minimoog, unfolding with a progressive-ambient feel.

"The Devil Is In The Details" brought to mind the most groundbreaking side of Bowie as well as the more mystical side
of David Sylvian. For the album holds not only musical ideas but also spirits, souls drawn together by affinity.

QUEEN The Singles Collection Volume 2 (Prog Related, 2009)

Fri, 9 Oct 2026 15:06:44 EST

Review by VianaProghead — Review N]]>�
"The Singles Collection Volume 2" is a compilation of Queen released in 2009. It has tracks from eight studio albums of
the band. So, it has one track from "Sheer Heart Attack" from 1974, one track from "A Night At The Opera" from 1975,
one track from "News Of The World" from 1977, one track from "Jazz" from 1978, five tracks from "The Game" from
1980, two tracks from "Flash Gordon" also from 1980, nine tracks from "Hot Space" from 1982 and three tracks from
"The Works" from 1984. It has three non-album's tracks, tracks previously unreleased on any of their studio albums.

"The Singles Collection Volume 2" has twenty-six tracks. So, from "Sheer Heart Attack" we have "Now I'm Here". It's a
song specially noted for its hard riff and great vocal harmonies. It's a powerful rock number with a heavy beat and
catchy vocals. This is a live version. From "A Night At The Opera" we have "Love Of My Life". It's a very beautiful and
catchy ballad, probably one of the best ballads I've ever heard. This is a live version. From "News Of The World" we
have "We Will Rock You". It's a great rock song that soon became one of the best known and most popular songs of
Queen. This is a live version. From "Jazz" we have "Let Me Entertain You". It's a good rock song with a furious guitar part
and complex melodies and rhythm. This is a live version. From "The Game" we have "Crazy Little Thing Called Love",
"Save Me", "Play The Game", "Another One Bites The Dust" and "Dragon Attack". "Crazy Little Thing Called Love" is an
interesting song that sounds like a 50's rock song. This is a nice tribute to Elvis. "Save Me" is a great song with touching
and beautiful lyrics, nice harmonies and great guitar work. It's one of the best contributions of Brian May to Queen.
"Play The Game" is a powerful and beautiful ballad, very emotional, which shows the talent composition of the band
and Mercury's vocal work. "Another One Bites The Dust" is an interesting song with a mix of styles of rock, funky and
disco. It has a great bass line. "Dragon Attack" is a hard rock song with some funk influences. It has a good bass line
and an interesting drumming work, with a guitar solo in the middle. From "Flash Gordon" we have "Flash's Theme" and
"Football Fight". "Flash Gordon" is a soundtrack album with the dialogues of the characters from the film. I don't see
any interest in releasing singles of an album like this. From "Hot Space" we have "Under Pressure", "Body Language",
"Life Is Real", "Las Palabras De Amor", "Cool Cat", "Calling All The Girls", "Put Out The Fire", "Back Chat" and "Staying
Power". "Under Pressure" has some great moments, especially the excellent and unforgettable vocal duet between
Mercury and Bowie. "Body Language" is inspired in disco, funk and soul music. It was a big dance hit but I don't like it.
"Life Is Real" is a nice ballad. It's one of the few positive points on "Hot Space". This is a nice tribute to Lennon. "Las
Palabras De Amor" is a rock ballad with vocals by Mercury with May on the high vocal harmony. It's a good and
beautiful song, a fine May's ballad beautifully sung. "Cool Cat" is a pop song with some rhythm and blues influence
where Mercury sings on the top of his voice. "Calling All Girls" is a tolerable pop song nice and pleasant to hear. "Put
Out The Fire" has lead vocals by Mercury with May singing lead vocals in falsetto. It has a nice guitar solo by May. But I
don't like the Bee Gees' vocal parts. "Back Chat" has a rock funky tune made to be dance music. The only interesting
thing on it is a nice May's guitar solo. "Staying Power" is a weak song driven by a funky styled synthesizer bass riff that
sounds as an electro-disco song. From "The Works" we have "Radio Ga Ga", "I Want To Break Free" and "Machined (Or
Back To Humans)". "Radio Ga Ga" is an excellent song, probably the best song ever written by Taylor to the band. "I
Want To Break Free" is a great pop song with a catchy melody and an excellent vocal performance without any
progressivity. "Machined (Or Back To Humans)" is an interesting but strange rock song with a good performance,
mainly the guitar work of May, pleasant and nice to hear. The three non-album's tracks are "A Human Body", "Soul
Brother" and "I Go Crazy". "A Human Body" wasn't originally released on "The Game". It was the B side of their single
"Play The Game". "Soul Brother" wasn't originally released on "Hot Space". It was the B side of their single "Under
Pressure". "I Go Crazy" wasn't originally released on "The Works". It was the B side of their single "Radio Ga Ga".

Conclusion: "The Singles Collection Volume 2" is nothing more than the second compilation album of Queen about the
singles released by the band all over the years. So, "The Singles Collection Volume 2" is the natural sequel of their
previous, "The Singles Collection Volume 1". But while "The Singles Collection Volume 1" was centred on the singles
taken from their first seven studio albums, "The Singles Collection Volume 2" follows the natural order being centred
on their following albums "The Game", "Flash Gordon", "Hot Space" and "The Works", besides some other tracks from
other sources. So, it means that "The Singles Collection Volume 2" isn't necessarily as good as the previous one. We all
know that beyond "Innuendo", the first seven studio albums of Queen are their best works. Besides, "Flash Gordon"
and especially "Hot Space" are clearly the weakest of all. So, "The Singles Collection Volume 2" only deserves 2 stars.

Prog is my Ferrari. Jem Godfrey (Frost*)

JOHAN STEENSLAND The Triphant (Crossover Prog, 2026)

Fri, 9 Oct 2026 12:35:07 EST

Review by yarstruly — Copied from my blog "Scott's Song by Song Spotlights" which has additional links for the story related to the album,
music videos and where to buy.

Clicked 5, but really a 4.5...4 is too low.

Today, I am reviewing the latest album by Swedish multi-instrumentalist/vocalist/composer Johan Steensland, titled
"The Triphant". You may recall that I reviewed his previous album "Duality" in November of 2025 and really enjoyed
it, giving it 4.5 out of 5 stars. In that review, I gave a bit of information regarding his background, which I won't
repeat here. Just click on the label for his name to find it on this blog. When Anne-Claire of Bad Dog Promotions
offered me this one to review, I accepted without hesitation. His previous two albums, "Duality" and "Crossfade"
were rock operas, with each character sung by a different singer. This time around, however, while still a concept
album telling a story, Johan chose to tell the story through a single narrator (himself). The story, according to the
information I received, revolves around:

"a painter, Dennis, and a computer scientist, Anika, and how their random meeting opens an unexpected door to
the drastic change of paths they both crave. However, change is rarely simple. Will they? Can they? Are they willing
to pay the price?"

Here are the album credits:

Music, story and music by Johan Steensland
Mixed and mastered by Johan Steensland and Rune Fr]]>�Vocals, bass, guitars, keyboards: Johan Steensland
Drums: Jonathan Lundberg
Keyboard solo on (9): Emily Francis
Flute and oboe: Ture Trygger
Piano on (10) and (11): Ingemar Brandt
Fretless bass on (4): Owe Eriksson

Cover painting by Javier Herbozo
Design and Layout by Ken Sandin

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

Track 1 - Intro (1:54)

We begin with a guitar fanfare with a dark edge to it. The bass and drums provide accents. A steady beat emerges
and the synth takes over the spotlight. Things soon turn quiet and set the stage for what is to come.

Track 2 - The Parade of Dancing Toddlers (2:18)

Carnival sounds and a "barker" create a soundscape that will be taken over by Johan and Lundberg. Lundberg has a
marching band rhythm on the drums. The carnival sounds alternate with the band. I love the layers of music
Steensland has created here. A unique piece that I enjoyed!

Track 3 - Stroke by Stroke (4:57)

A combination of clean guitar and synth sounds lead into a mid-tempo rock groove, with a bit of an 80s vibe. Johan
sings for the first time here. This is a rock song with more sophisticated chord voicings and changes. Story-wise,
Dennis, the painter, is envisioning his future. While initially feeling like his future was bleak, he redoubles his resolve
to paint the greatest painting he's ever created?"Stroke by Stroke". There is a cool "breakdown" musically after 3:30,
before returning to the final verse, where he sings in his upper ranges, fantastically! Excellent track.

Track 4 - The Lab Rat's Escape (5:17)

This begins with melancholy piano notes. I believe we are being introduced to Anika, the computer scientist here.
She is confronting her self-doubts and plans to "escape" the life she feels trapped in. Owe Eriksson's fretless bass is
a nice touch. Steensland's vocal performance is amazing. This falls into the "hauntingly beautiful" category. Lovely
track.

Track 5 - Save Me From My Dreams (4:41)

This has a dramatic, energetic intro. Great drum fills from Lundberg. Anika realizes that she needs "The Painter".
She feels anxious, but goes to his home and knocks. She still feels self-doubt even after knocking. Musically, there
are syncopated, odd-meters and a triumphant synth solo. Steensland's voice, as always, is clear and dynamic, with
a great range. Good song!

Track 6 - Nothing's Wrong (7:50)

This is the second longest track on the album, and closes out "Act 1". After a big fanfare, quiet, pensive, piano takes
over to provide accompaniment for Steensland's voice. The intensity begins to build after the first verse. This has a
wonderful soundscape which facilitates the listener escaping into the world of the story. I love the change that
happens around 2:30. We can imply that Anika has come to Dennis to commission a painting, but he is debating
with himself as to whether or not to accept it. We are introduced to "The Triphant" here, which seems to be coined
by Steensland for this story:

A surface painted smooth
With the triphant in demand
An artist's journey forever changed

Just before the six-minute mark, the music turns "dreamy". But soon after it crescendoes into a melodic guitar solo.
This brings us to the end of the track.

Track 7 - Give It to Me! (4:44)

This begins with Ture Trygger's oboe with a forlorn melody. When the drums and bass kick in, it has a bit of a Fish-
era Marillion flavor. The music takes a turn for the dramatic in the choruses. Not really sure what is happening
here, but it seems very sinister when Dennis demands that Anika should "Give it to me!" I think he is trying to get
through her emotional shields. The following instrumental section builds in intensity and has some great drum fills.
It eventually explodes into a staccato precision syncopated riff that is simply prog-tastic before returning for
another chorus. Cool track!

Track 8 - The Sitting (2:54)

Quiet piano notes with subtle accompaniment start out this one. Trygger returns on flute, and the music builds
slowly. This seems to be an instrumental interlude Very peaceful.

Track 9 - Lay Down Your Guns (5:20)

A short synth upsweep takes us right into the first verse with a syncopated rhythm.I believe Dennis is attempting to
get Anika to reveal her inner self. I believe she is the subject of his painting, and she finally let her defenses down.

She took the final step
Oh, so brave and proud
She revealed herself
She felt so alive

At around 3:10, it goes into a proggy synth solo that has a slight fusion feel to it. Another chorus follows, then the
song winds down. One of my favorites on the album.

Track 10 - The Calling (4:39)

A high-hat and percussion rhythm initiates this one. Synth enters to accompany the vocals. The beat turns to a 6-8
shuffle as we proceed. I believe Dennis is falling in love with Anika after she has let her shields down.

Someone's got to pull her weight
When she's not strong
Someone has to lead her through the dark
Although she feels that she is falling

Pretty good track, maybe not as strong as some of the others, though.

Track 11 - Layers of Skin (8:02)

The longest track on the album to close out "Act 2" and the album itself. Piano and synth begin with a sense of
anticipation that gets released at around 40 seconds in a big powerful fanfare. The music quiets again down to
piano and the vocals. At around 2:40 the music gets big again! After a repeat of the fanfare, there is a guitar solo
that is reminiscent of Steve Lukather in Toto's "I Won't Hold You Back". Quiet sections alternate with louder ones. I
believe he is hoping she will let him into her heart.

He holds her now,
he won't let go
If she lets him in,
he will stay inside

There is some wonderful guitar playing, and Johan's ad libbed high-pitched vocals are breathtaking near the ending.
A fantastic track

OVERALL IMPRESSIONS:

As I have said many times throughout my articles, I am a music first, lyrics later kind of a guy. I am attempting to
focus more on the lyrics as I grow as a writer. Musically and vocally, this album at least equals its predecessor and
might even surpass it slightly. Lyrically, it left me uncertain. "The Triphant" is only mentioned once with no clear
explanation as to what it is. My best guess is that it is Anika's inner self, as represented in the cover artwork.

After a bit of digging into the album cover booklet I was provided, I discovered that the two main characters'
backstories were written there, but still no Triphant?It turns out from a prompt on the album cover that the full
story is on his webpage, here:

(see my blog for the link as PA won't allow it)

I am going to give it a spoiler alert, but The Triphant is represented on the cover art, but it is not what I thought.

GRYPHON Gryphon (Prog Folk, 1973)

Fri, 9 Oct 2026 11:21:47 EST

Review by A Crimson Mellotron — Gryphon were an English progressive folk band from London with a very particular taste for Medieval
music. Originally a four-piece, the band's self-titled debut album was released by Transatlantic in
1973, a little more than a year after Gryphon's formation. This album marks one of the earliest uses
of instruments such as the crumhorn and the bassoon in a rock band context, as Gryphon's music was
naturally based around guitars, drums, and bass. Nevertheless, there is something genuine and
eccentric about this group of musicians and their charming debut album that sets them apart. I do
think the influence of bands like Jethro Tull and Spirogyra, and to a lesser extent Fairport
Convention, is noticeable, but the music remains curious and enthusiastic, making 'Gryphon' a daring
listen.

I also appreciate the fine balance between the instrumental pieces and the pastoral narratives, with
three of the four band members contributing vocals. At the same time, Gryphon's earliest efforts are
less lyrically satirical than Ian Anderson's, for example, and significantly less musically dark
than something like Comus. Thus, Gryphon's debut offers playful and engaging folk tunes like 'Kemp's
Jig', 'Estampie', and 'Juniper Suite', while revealing a degree of compositional ambition in songs
like 'The Unquiet Grave', 'Three Jolly Butchers', and the aforementioned 'Juniper Suite'. The
overall atmosphere is lighthearted and exuberant, making this album a fine example of the neo-
medieval strain of early 70s British folk music. And while it may not be the most inventive or
influential folk-rock record of its time, 'Gryphon' is a solid effort from a band captivated by the
British folk revival.

AMON D��L II Yeti (Krautrock, 1970)

Fri, 9 Oct 2026 11:02:23 EST

Review by DimitrisTheHead — I am honestly at a loss for words for this album. This is one of the heaviest, most ferocious records ever made. Just
when you thought on how Amon Duul would be able to record new music worthy of their great debut, they came up
with this mind-blowing album, that really contains all the elements that make it a landmark of prog rock music which
still holds up 56 years later.

The album is full of blistering guitars, rampaging violin, bombastic drums, surging keyboards and spooky vox. My
speakers really have a hard time handling this record.

The great part of this record is that it is entertaining and exciting and keeps you focused all along. Highly
recommended.

SCARLET THREAD Never Since (Prog Folk, 2013)

Fri, 9 Oct 2026 10:56:58 EST

Review by kenethlevine — You have to give props to Jani Timoniemi, sole leader of SCARLET THREAD, who refuses to sit still from one album
to the next. After a seven year absence, he is finally able to recruit a vocalist who would help to revitalize his vision,
which should have and might have been apparent from the first. It does also seem that he recognizes several of
his initial concepts need revisiting as songs, and could not have made a better choice by engaging Mari Vuoritie to
help bring SCARLET THREAD to another level.

And do they! The flutes, violins, and heavy guitars are back for another round and "An Old Dream" and "Under the
Waters" are reconstituted from the opener and closer of their first album. Mari easily draws comparison to KATE
BUSH but also Cat Ellen of FOREVER TWELVE, crossed with ELOY's crystalline palette circa "Colours". It's like a hot
tub followed by a cold plunge. That they do this without keyboards is not noticed until the organ outro of "Tomb".
Oh yeah, they did this without keyboards.

The two aforementioned do-overs and "Dark World" make the can't miss list but it's all excellent other than maybe
"Instrumental Agony" in which Timoniemi purges his old self. I think of how KARNATAKA or IONA could have been
taking notes here.

This could go either way, but granting it just one star better than the comparatively embryonic early albums seems unfair, so a
"weak" 5 stars it is.

GENESIS Trespass (Symphonic Prog, 1970)

Fri, 9 Oct 2026 10:17:35 EST

Review by DimitrisTheHead — Genesis released their second album "TRESPASS" in 1970, after their kind of sloppy debut 'FROM GENESIS TO
REVELATION". It is their last album with original guitarist Anthony Phillips before Steve Hackett joined the band and
their only album with drummer John Mayhew.

Every time I'm listening to this album, I really think that it is my favorite Genesis album of all. Unpopular opinion right?
Not for me, as the whole album feels like a fairytale to my ears and eyes, from the pastoral artwork, to the poetic lyrics
and the dream-like music. The album is loaded with the acoustic guitar of Anthony Phillips, the magical keyboards of
Anthony Banks and some really beautiful vocal harmonies.

I also don't get the negative comments about the drummer John Mayhew and the meaningless comparison to Phil
Collins. The man did a good job and he contributed to the song writing as well.

DROWNING STEPS The Bravery of a Tireless Mind: Book One (Crossover Prog, 2026)

Fri, 9 Oct 2026 07:06:31 EST

Review by Rysiek P. — It probably comes as no surprise, but after reading those words, I simply had to... listen to this album very closely.
Especially since it hails from distant Brazil - the band's third release and, in the members' own words, "their first
concept album and the most ambitious work of their career to date." Moreover, this is no "random" album. To
quote the band again: "This release is a rock opera inspired by modern progressive rock, featuring elements of 70s
styles and film scores. Musically and lyrically, the album draws inspiration from works such as *The Dark Third*
(Pure Reason Revolution), *Misplaced Childhood* (Marillion), *Children of E.L.B.* (Soup), *Scenes from a Memory*
(Dream Theater), *The Perfect Element* (Pain of Salvation), and *The Wall* (Pink Floyd)." And what do you think of
such influences? If that weren't enough, I should add that the first track features guest vocals from Robin Peachey
of Returned to the Earth, while the third track features Erlend Viken, known for his work with Soup and Giant Sky.
For me, that is reason enough to give it a listen.
What prompted me to make a point of listening to this album several times was a further piece of information
from the band: "This record constitutes the first part of a trilogy that began with the 2017 album *The Comfort of
an Endless Pain*. Work on the second part has been underway for quite some time, as both releases were
recorded concurrently." From that moment on, the music was playing non-stop. The latest release from the band
Drowning Steps is titled *The Bravery of a Tireless Mind: Book One*. It offers over thirty-five minutes of music
spread across five tracks, the longest of which - and the one deserving of particular attention - is "The Angels and
the Playground," clocking in at well over fifteen minutes.
The album - centered on a return to childhood experiences, early reflections, warnings, regrets, and fears -
opens with an extraordinary composition: "The Angels and the Playground." It begins in a truly evocative manner -
with the sound of a pen moving across paper, suggesting the moment the narrative protagonist sets out to commit
his past to writing. This premise is confirmed by the opening verses of the first section of this... (well...) suite: "Tough
Times/My New Journey."
"Do I know what's wrong? / It seems not / But I'm gone, and that's the start of a new journey / I went back to the
place where it all started / It's very strange / But everything is the same / Some familiar faces bring me memories of
a story / That hasn't ended..."
Musically, the journey into the realm of memory begins with over four minutes of ethereal, reverb-drenched
keyboard passages and fluid acoustic guitar work introducing a descending sequence of nostalgic chords. Yet, one
should not get too comfortable assuming the entire composition will maintain this atmosphere. True, the suite's
second section (titled "Together Again/The Sound of the See-Saw") features a magnificent vocal performance by
Robin Peachey - a master of mood and atmosphere - but immediately afterward, the band abruptly ventures into
the musical territory of prog-metal and symphonic rock to illustrate the next stage of grappling with memories of
the past. This blend of moods and rhythms powerfully captures the emotional turbulence that accompanies
recollection. It also strikes me that fans of the band Riverside will recognize many similar harmonic approaches
from the midpoint of the track onwards (and again around the nine-minute mark). Naturally, the piece concludes
(with the section titled "Every Part of Me") in an epic, grand style, underscored by a powerful declaration of an
eternal truth about memories: they are not always pleasant and often evoke conflicting emotions, even years after
the events themselves have passed. Yet, they remain an intrinsic part of who we are.
The second track on the album opens with a song-like feel. One could say that "Fragments of a Lifetime" - true
to its title - is a story about the past and how things ended; a tale of the scattered remnants of a life that has
already slipped away. Beyond its evocative glimpses of days gone by, the track gains a vocal lightness thanks to the
contribution of La]]>� The reckoning with the past continues.
"After many years, I'm finally returning to where I came from, But now, I'm seeing everything in a different way,
I'm meeting friends again, reliving moments... I found some things that I thought were lost, But they were right
before my eyes, The gray river remains our biggest source of energy, The playground has been restored, But being
there is encouraging! I'm no longer afraid of questions, Even if I don't have all the answers. And life can be so much
better when the light comes out, But I lived all those years in the deepest darkness, So I can appreciate the
darkness that still remains in my heart".
Bitter truths about oneself, set against an incredibly atmospheric backdrop - delicate yet assertive. It is a track
filled with "melancholic" synthesizer passages and magnificent keyboard and guitar solos. "The Nod" is a truly
captivating composition, centered on the skillful blending of melancholy with epic elements. Erlend Viken is the
creative force behind this depth.
"Waiting for Redemption" - the penultimate musical offering on this album - is a nine-minute suite comprising
three parts. The delicate first section (titled "Freedom"), built around piano sounds and a focused vocal line,
represents a wait for salvation, redemption, and purification - a longing to cast off unwanted memories and find the
strength that emerges in the second part (titled "Embrace Your Life/The Weight on Us") alongside powerful chords
and assertive synthesizer work. Once again, I would draw the attention of Riverside fans to the harmonic
similarities. The suite's final section (titled "Reality") makes for an interesting listen - particularly its narrative
conclusion, captured in these words: "Waiting for redemption I cling to my belief / (Even if I didn't think so, I would) /
Waiting for redemption / I cling to my belief / But a past designed by the evil / Still makes me see reality".
The album ends surprisingly quickly. "Life Handed Me the Map," the final track, clocks in at just under three
minutes. It's a brief realization that: "It was time to redeem myself from failures / It was the past building barriers
for me not to feel what was locked away for many years". It is a gentle summary, sung in a hushed voice. It is a
delicate conclusion to reflections on the past - on what lies behind us. It is that long-awaited deliverance from the
past, which became the central theme of this release. A magnificent ending.
This also marks the conclusion of the third album by the band Drowning Steps - a record the band describes as
follows: "A rock opera inspired by modern progressive rock, featuring elements of 70s styles and film music." I
wouldn't be true to myself if I didn't agree with that statement only halfway - and the "lesser" half at that. This
release presents snapshots of life - somewhat battered and faded, yet still vivid and emotionally taxing. It is a
musical journey through tangled emotions and the quest for self-forgiveness and self-salvation. For only we
ourselves can liberate - or "save" - ourselves from our own memories; no one else can do it for us.
The Drowning Steps band is: Caio Claro (vocals, guitars), Fabricio Mendon]]>��(bass), Marcos Duran (electric guitar), Tiago Pierucci (keyboards). The following people had their unique vocal
contributions: Robin Peachey (Returned to the Earth), La]]>�

DATURA LODGE Datura Lodge (Heavy Prog, 2026)

Fri, 9 Oct 2026 06:36:42 EST

Review by Rysiek P. — I can't quite recall whether I first heard or read that this band and its debut album were contenders for the title
of best debut of the year. Naturally, that acted like a red rag to a bull... and so, track by track, listen after listen, I've
been immersing myself in this nine-track album, still trying to figure out exactly what it is that appeals to me.
Perhaps it's the ambiguity, the distinctiveness and unpredictability, or the somewhat convoluted arrangements -
further proof that only the mindset of a "musical Darwinist" can truly rise to the challenge of an album whose title is
(as is often the case with debuts) identical to the band's name.
Datura Lodge is essentially a duo operating under the pseudonyms Nicky B. (bass and vocals) and "W" (guitar
and vocals). Yet, something seems to be missing - perhaps drums or keyboards. Naturally, such an absence
wouldn't do, so guest musicians stepped in to lend their talents: keyboardist Adam Holzman (Miles Davis, Steven
Wilson) and drummer Russel Holzman. Additionally, Ben Karas from the band Thank You Scientist plays the violin.
And the album itself?
It kicks off right away with the opening track, "Mummy." It enters with a slow, stately blend of synths and
guitars, rolling along at a steady rhythm for three minutes while vocal phrases are delivered with a touch of
intensity. And there is a lot going on. The weaving of an alternative arrangement with guitar improvisation - set
against a tight rhythm section - creates a polished rock composition. Moments later, the Datura Lodge train fully
switches to alternative tracks, without abandoning progressive melodies or a guitar solo with a metallic edge. The
track "Stone" balances somewhere between The Mars Volta, Porcupine Tree, and... indefinable violin sounds that
take an unconventional path in their soloing. I admit I don't know the meaning behind the enigmatic title "98 and
94," but the skillful blend of power and delicacy, underpinned by a highly melodic backdrop, works perfectly. It is
one of my favorite tracks on the album; it manages to captivate the listener for five minutes and compels you to put
it on repeat. In pursuit of the next sounds, the band showcases "Them" with impressive arranging prowess. You can
really hear the hard work of the rhythm section here, allowing for guitar antics and - I'll say it again - highlighting the
album's incredible melodic quality. And then? And then things turn out different than the opening bars of the
subsequent tracks might suggest. Because in every song, the band mixes everything with everything else. Take the
song with the oh-so-"rock" title "Floor" - which indeed kicks off in classic rock fashion - and expect a surprise roughly
halfway through: slightly distorted vocals that, accompanied by background synths, steer the composition toward a
quasi-progressive sound. With this track, we enter the album's finest stretch. The next song, "Can," is a textbook
example of "punk-prog." It features a fast, simple punk rhythm and expressive improvisations, all balanced by
synths that smooth out the initial chaos - even reconciling the growled vocal passages. It is punk-prog in all its glory
- or so it seems, until the song's finale, which brings all those musical contradictions into line only to introduce a
new kind of disorder. After these "punk" excursions, the distinctly blues-tinged "Hole" offers a moment to process a
mix of conflicting impressions: on one hand, the urge to immediately turn off whatever is playing; on the other, a
secret, compelling curiosity about what might happen next. There is a lot going on in this track - blues, Hendrix-
esque solos, keyboards full of progressive grandeur and an atmospheric quality that surprisingly reconciles these
musical extremes, creating something truly special. The same applies to "Beam," the album's penultimate track. It's
a playground for funk-infused imagination, a wild blend of chords typical of lighter, upbeat music and the incredible
softness of synthesizers. I'm not sure how Datura Lodge pulls it off, but once again, everything - despite the
apparent jumble - fits together perfectly. I really love this "anarchic" track.
Finally, the band returns to familiar territory. The closing track, "Lodge" - the album's longest - rewards the
listener for any preceding musical excursions and unconventional sounds. It is a magnificent six minutes that
serves as a reminder of how palatable "musical Darwinism" can be when dealing with an album like this. I
recommend that those interested in progressive-leaning music start listening to the record with this track to see if
Datura Lodge's musical approach appeals to them.
Can I recommend this album to anyone with a clear conscience? Probably not. This isn't an album you simply
recommend or advise against; it is an explosive debut that will cause some purist listeners to drop off, while those
who stay should find great enjoyment in every subsequent arrangement, the approach to compositional rules, the
unconventional treatment of musical tropes, and the need to open up to something new. It is a dynamite debut.
And that brings us to a problem familiar from music history: will the band manage to repeat this feat on their next
record, or will we be left off-balance by this album alone? Time will tell. For now, in my opinion, it is one of the most
extraordinary debut albums of the year.

CLIVE NOLAN Song of The Winter Throne - The Saga of Hakon Hakonsson (Neo-Prog, 2026)

Fri, 9 Oct 2026 05:41:29 EST

Review by The Jester — Review #122

Another excellent album by Clive Nolan!
This time, the main theme/story of the album was inspired by a real person and not some fictinal character.
The main hero is Haako Haakonson or Haakon the Old as he is also known.
He was one of Norway's most prominent Medieval Kings, ruling for 46 years and bringing an end to a devastating era
of civil war. His reign is traditionally viewed as the beginning of the "Golden Age" of Medieval Norway.

I feel like I'm repeating myself every time that I am writting a review about Clive Nolan's new album, because once
more everything is excellent!
The music, the vocals, the story/lyrics, the general atmosphere of the album, etc...

Mostly because of its main theme, I believe that this album has enough similarities with Clive's 2021 album, Song of
the Wildlands; so if you liked that one, don't think twice!

If you are not familiar with Song of the Wildlands or Clive Nolan's other musicals / operas/ concept albums, give this
album a couple of listens and form your own opinion.

For me it is a solid and well-made album which I am sure I will enjoy for a long, long time!

Thank you Maestro! :)

My Rating: 5 Stars

FOCUS Mother Focus (Symphonic Prog, 1975)

Fri, 9 Oct 2026 01:57:12 EST

Review by Matti — Following my review of the Focus debut, I summarize that Moving Waves (1971) and Hamburger Concerto
(1974) are five-star masterpieces to me and the double album Focus 3 (1972) suffers from the overmeasured,
jam-based material. This is not the first time I'm listening to this notorious poor fifth album that was a radical
departure from the classic prog-Focus (see my review of 50 Years: Anthology 1970-1976). Back then I was kind
of relieved that it wasn't as bad listening as many people say. Sure, it has to be taken in its own terms without
comparing it to the preceding prog masterpieces.

The producer Mike Vernon out of board, Focus produced the album themselves. Drummer Colin Allen left after
the recording of 'No Hang Ups', penned by the band's friend Paul Stoppelman. The newer material discarded
the classically influenced prog sound and was openly influenced by American lite-fusion, with relatively brief
pieces. Also notable is the large amount of bassist Bert Reuter's compositions alongside those by van Leer and
Akkerman.

The title track is a joint composition of the three, a laid back tune featuring wordless voicing, while Reuter's 'I
Need a Bathroom' sung by himself is a laid back vocal song with blues/jazz nuances. Melodic instrumental
'Bennie Helder' by van Leer is very light-hearted and besides its simplicity thankfully contains some variation
too. The two groovy Reuter instrumentals, light as a summer breeze. It sounds unorthodox to say, but I have a
better time with them than sitting through the most over-extended pieces on Focus 3. Serene 'Tropic Bird'
(Reuter) has a light bossa nova flavour, fairly enjoyable.

Van Leer's dreamy and cutely melodic 'Focus IV' is closer to the classic Focus, a highlight that should please old
fans, despite being relatively light-hearted. Jan Akkerman's compositions come toward the end of the album.
The titles like 'Someone's Crying... What! ' sound suspicious but these pretty small scale instrumentals are not
bad at all, if not very memorable either. Focus had played 'No Hang Ups' live already, and this slightly
melancholic piece is another highlight not in contrast with the classic period. Akkerman' third piece 'My
Sweetheart' goes brightly forward in a steady rhythm. Again, likeable. The brief and serene closing piece
'Father Bach' is Thijs's adaptation and features organ & guitar.

Well, I'm glad to confirm this is a fairly nice album to listen to when you wish for something lighter. 3,5 stars
really, but maybe I'll round it down due to small amount of uniqueness and originality that Focus used to have
so much of.

STREAM OF CONSCIOUSNESS Awakening (Progressive Metal, 2006)

Thu, 8 Oct 2026 22:13:42 EST

Review by thebernreuter — The production is bad, the vocals are out of tune, but the composition itself is genius. Steven really knows
how to write musical motifs that intertwine with each other and appear and reappear, sometimes literally
and sometimes in variation. It is enjoyable if you understand that it was written and recorded
independently by four poor college students. We didn't have $10,000 to spend at a studio like we do now.
When I listen, I hear it as it should've been. For the record, the correct spellings of the members are as
follows: Steven Lamphear, Sara Chesler, Wade Beevers, and Jon Bernreuter. The guy who wrote this official
review has great ears. He picked out all of the flaws but he was still pretty nice about it. I give it five stars
because drumming to this record was extremely hard and I feel like I earned it lol.

LOGOS Asrava (Rock Progressivo Italiano, 2001)

Thu, 8 Oct 2026 17:39:50 EST

Review by Fercandio46 — That keyboard sound, so majestic it could easily fit into the Renaissance catalog, takes on the darkness of Genesis
yet possesses the power of modern heavy metal as Logos drives it forward; it is as if that grand introduction, that
prologue in "Asrava", marked the inauguration of a robot factory, a place where technology paradoxically relies on
the human hand to come into existence. The paradox continues with the second track, "Ezra Pound," a piece
reflecting the figure whose affinity for poetry and music seemed to stand in contrast to his ideology. A rapid drum
beat sets the pace, accompanied by a synthesizer that dances between the strikes, yet later shifts to a deeply
ancestral melody, seemingly embodying the tradition and arrangements of Le Orme.

The heavy, rhythmic bassline that sets the pace for everyone evokes the signature style of Chris Squire, later
shifting into a funk groove and taking on a contemporary fusion tone. Towards the end, an epic guitar solo creates
a symphonic atmosphere that never loses the sense of urgency inherent in the heavy rock shadowing it.
"'99" follows a sonic path reminiscent of Yes and their prominent basslines, until Luca Zerman begins to sing and
classical influences once again intertwine with heavy rock. The shifts in tempo greatly enhance the emotional
impact, particularly as the vocals draw upon the Italian operatic tradition. Their experimental edge saves them from
merely retracing the steps of the giants of the past, as they often execute rapid-fire classical scales set to the
rhythmic structures of other genres.

La leggerezza della libert]]>�keyboards, creating an atmosphere of deep intimacy. Fortunately, the complex rhythms and their variations give
the album breathing room; the title track, "Asrava," shifts from a somber, atmospheric mood to funk with an
enviable groove, showcasing the versatility of the rising star bassist, Fabio Gaspari. The psychedelic excursions and
the inclusion of the trumpet at the end make it the standout track of the album.

"Terra Incognita" features epic keyboard arrangements that mimic choirs, fueled by the drummer's relentless
rhythm, and while the sound might come across as somewhat flat, it fits well with the heavy rock style that defines
Asrava's overall approach. The flirtation with electronic elements continues until the band's loose, fusion-like vibe
resurfaces, leading to a keyboard epilogue that, much like the opening, comes full circle. This instrumental section
paved the way for the compositional maturity seen on later albums, stepping stones that might not lead to heaven,
but simply to somewhere else.

BABA YAGA Collage (Krautrock, 1974)

Thu, 8 Oct 2026 17:39:45 EST

Review by Fercandio46 — The santur, a Persian string instrument that evokes memories of Mediterranean Greece, marks the beginning of this
Krautrock adventure, which embodies the subgenre's spirit in all its breadth, yet remains defined by certain
boundaries. The project features two musicians: Ingo Werner on synthesizer, clavinet, Rhodes, and piano; and Nemat
Darman on drums, sitar, the aforementioned santur, and various ethnic percussion instruments, such as the Indian
tabla.

Indian rhythms merge with electronic synthesizer currents, yet the santur evokes the scent of sand and salty seas; just
as Krautrock possesses a provocative, distinctly Western side, it has always coexisted with an Orientalist, mystical, and
esoteric dimension. While one band might lean more toward one of these currents than another, what unites them is
a taste for adventure and risk-taking, for provocation, though not for provocation's sake, since groups ranging from
Can to Amon D''l II or La D'sseldorf create remarkably solid states of being amidst the heterogeneity and ethereal
nature of their sound.

Nemat Darman was Iranian, which explains the strong spirituality in his music and his expert playing of the region's
indigenous instruments. That nature-focused rebirth, so reminiscent of Popol Vuh, intertwines seamlessly with
ambient and space-music atmospheres that, at times, brought to mind Pink Floyd and even Gong.

Thus unfolds "Mokscha," the first of the expansive suites that make up the 'lbum, a work defined by a duo, just like
the group itself. The second track, "Wadia," begins with an Eastern-sounding piano, which then ventures into
improvisations that are part jazz-inflected and somewhat dissonant, reminiscent of the work of Keith Jarrett.

When the keyboard joins in and the percussion enters, a jazz-rock atmosphere takes hold, infused with elements of
funk and psychedelia, marking the only moment where chaos and the persistent habit of "non-melody" are
abandoned.

It gets shamelessly funky with the clavinet, eventually veering into a kind of space jazz. It is a worthwhile experiment,
like so many from that era, yet it falls short of the polished status achieved by albums from some of his
contemporaries and fellow countrymen.

DOMINICI 03 A Trilogy Part 1 (Progressive Metal, 2005)

Thu, 8 Oct 2026 14:54:16 EST

Review by martindavey87 — After hearing parts two and three of this trilogy, both of which are fantastic progressive metal albums, I knew it was time
to go back and listen to part one, the part I'd struggle most with; the dreaded acoustic album.

Released in 2005, 'O3: A Trilogy (Part One)' is a solo acoustic album by former Dream Theater vocalist Charlie Dominici.
Having sung on the prog metal pioneers debut album back in 1989, Dominici made a guest appearance on the 2004 live
album celebrating said debuts 15th anniversary, and thus, once again caught the music bug.

However, before taking this trilogy into prog territory, he started with this album, which is quite literally him singing with
an acoustic guitar. It was already titled "part one" of the trilogy, so I wonder if he knew how much of a directional change
it would make with later parts. Regardless, this record is pretty dull. Dominici is a fantastic singer, but there's only so
much of this I can listen to without every song sounding almost identical. None of the guitar melodies are overly
interesting, barring one or two of them, but everything just drags.

If I had to pick out any highlights, 'My New Land' and 'The Dream' are okay songs, and if you're really not too nit-picky, the
whole album is harmless enough as background music, but man, it is so boring. I don't think I'd ever go out of my way to
choose to listen to this. Parts two and three are absolutely fantastic, but sadly, part one will always be there just to fill the
gap in my collection. One to avoid.

EMERSON LAKE AND PALMER Emerson Lake and Palmer (Symphonic Prog, 1970)

Thu, 8 Oct 2026 12:36:29 EST

Review by DimitrisTheHead — The debut album of the progressive rock supergroup consisting of Keith Emerson of THE NICE, Greg Lake of KING
CRIMSON and Carl Palmer of ATOMIC ROOSTER. A bold statement of what was to come, with the band incorporating
their classical and jazz background to their rock music.

The album is a mix of original songs (Take a pebble, The three fates, Tank & Lucky man) and rock arrangements of
classical music (The barbarian & Knife-edge.) Keith Emerson is the key figure of the album of course, with his
bombastic playing. Carl Palmer is a really hard hitter and delivers a great drum solo as well on the track "Tank". Lake's
voice is heart-warming as always, but the man can deliver some amazing bass lines as well.

The album is characterized by top flight musicianship, but unfortunately not top flight songwriting, at least at some
parts of it. Despite that, it is a strong album, and any album with "Take a pebble" on, is worth owning.

SCARLET THREAD Valheista Kaunein (Prog Folk, 2006)

Thu, 8 Oct 2026 11:18:22 EST

Review by kenethlevine — If SCARLET THREAD wasn't conceived as one of those single guy projects with a revolving support system, it
became one fast during the interval between their "Psykedeelisi]]>�personnel in flux right through the early recording sessions. Only JANI TIMONIEMI remained, but he did keep the
guitar/violin/flute instrumental orientation, so this doesn't sound all that different from the jam-oriented and jazz
accented debut.

Perhaps a bit heavier in parts such as on "Jumalanilkkakirves" and "Levoton Sielu", this is still balanced with the
pastoral woodwinds and strings. The opener kicks off with an irresistible riff but doesn't support it enough when
offstage. Some of the numbers sound like they are just trying to get to the end, while simultaneously shrugging
like they have no idea how to end it. Still, the KC trio era plus folk influences, particularly on the more succinct
"Aatoksia Kivusta" and "Haarasilta" , make this a worthwhile 43 minutes, and worth returning to when the mood
strikes.

TARUJEN SAARI Hepsankeikka (Prog Folk, 2000)

Thu, 8 Oct 2026 11:16:37 EST

Review by kenethlevine — From the title which translates loosely to "loose woman" to the cover of a quasi-mythical physically well appointed
female to the generally erotic lyrical themes of the trad and original numbers presented here, TARUJEN SAARI's
second album is probably the merriest of their discography. The ensemble continues to present renditions of well
known songs from the British Isles as well as their homeland, and once again in each case they offer a novel
interpretation.

Closest comparisons would be with the more politically serious MABSANT from Wales and GALAHAD from
Germany, with the usual British Isles (including JETHRO TULL at their folkiest) and Breton (BERNARD BENOIT)
suspects of course, and, in one track ("Lampolan Vintilla"), the as yet unformed SANGRE DE MUERDAGO. "Y]]>��on" has a go at the very first track on the very first CLANNAD album in a manner which, superior or not, fits
better on this album than on that Donegal group's debut. It's a good deal more rocking with menacing
fiddles. The last 2 songs respectively revisit "Tam Lin" (best known as a FAIRPORT song) and "The Twelve Witches"
(STEELEYE SPAN) and to me are unrecognizable from the versions I know, with only the first somewhat signaled by
its many verses. It's much more mysterious with whistles and whispered lyrics for the first part but, without
following along the Finnish lyrics, I find it stays on past closing time, while I have no issues with "Twelve Witches" at
all, a typically dire lyric made joyous, even in Finnish!

For the rest, it's all at least good, with the best being "Hepsankaika" which
introduces our character "type", the saucy fiddle-heavy "Neidon Kielto", the cello infused and at least R rated
"Minulta Saisit", and the seize the day whistled exuberance of "Lampolan Vintill]]>�
Our protagonist can succeed in seducing even the most hardened of us from track one, and isn't that her goal?
She does get a lot of help from a band that is a lot more disciplined than she.