Reviews (all) - Progarchives.com

DEVIN TOWNSEND The Moth (Experimental/Post Metal, 2026)

Sun, 7 Jun 2026 03:53:32 EST

Review by rdtprog — The man can't stop thinking of big projects with many musicians and creating something out of the
ordinary live. Because this project started 10 years ago and has been played live before it was
released in multiple formats. "The Moth" is unique for the addition of an orchestra. It contains 24
tracks of music where Devin's voice is the real highlight of this 75-minute rock opera. We know what
he can do with his voice, which is singing with finesse and heaviness depending on what emotion he
wants to communicate. The presence of the choir is also important to give this music full richness.
Those who enjoy the young Devin with STYL can be disappointed because the heaviness here doesn't
come from the guitars. To enjoy this music in a perfect setting, you have to get the Atmos mixes of
the album in 2 versions, including one with only the orchestra. The video is the icing on the cake
to another big project coming to life where Devin is going to make a few dollars for millions of
hours of work. 4 Moths

KARFAGEN OMNI II Act I: The Glass of Time (Symphonic Prog, 2026)

Sun, 7 Jun 2026 03:22:44 EST

Review by alainPP — KARFAGEN, Antony KALUGIN's band, has traded the whimsical for the progressive music of the new kingdom.

OMNI (Part 4): "The Glass of Time Part 1" is the instrumental track where Antony's velvety keyboards accompany
John's bucolic flute and Michel's Oldfield-esque guitar for a melting melody. Rob contributes to the romantic
keyboard flourishes for this solemn opening, reminiscent of either Genesis 2 or Camel. "Frozen Rivers" features
Roine contributing his signature blend of sweetness and grit, while John amplifies the symphonic pastoral effect.
A multi-layered track with Marek's saxophone and Roine's brother's bass creates a crescendo of pop-love songs.
"Shadowbound" follows, with Maria as a guest vocalist, setting the stage ablaze, initially channeling Kate Bush
and then Floor Jansen. A powerful, dramatic track where the vocals contribute to the evolution of this
symphonic, dramatic, and romantic neo-prog, reminiscent of metal. "The Shape of Love," featuring Marco for the
melodramatic break, is a centerpiece brimming with neo-prog, with its meandering flute and folk-like guitar.
Midway through, an ethereal interlude unfolds, with Marco speaking in a solemn solo?a divine moment that
reinforces the soothing crescendo, perfect.

OMNI (Part 5): "Carry On" evokes the rhythmic feel of Genesis, the 80s sound. Yogi delivers a melodic,
marshmallow-like pop-rock sound filled with Antony's lush synths. This crowd-pleaser is notable for its midway
break, an introspective vocal experience navigating symphonic prog territory, while Kalle's heavy guitar solo
propels the band to musical Olympus. Antony elevates each musician, drawing out their very best. "Beyond the
Mirror" features a saxophone attack that remains firmly rooted in the 80s, with vocals from Per, who has just
released a top album with his band. A duet with Antony and the female choir recounts the finality of life. Beyond
the conventional melodic and melancholic feel, Marek's saxophone returns for the symphonic finale, leading
into the exhilaratingly catchy "How Fragile We Are," perfect for sinking deep into your armchair. Olha's ethereal
vocals over Antony's keyboards, their sweetness escalating to candy cane, the tempo slowing, the vocals
narrated, Kalle's slide guitar and the saxophone simply reinforcing this intimate atmosphere with Pascal's
Chapman guitar. "The Glass of Time Part 2" follows, closing the album; Antony and his organ-like keyboards let
the notes rise. A reprise of Part 1 with more flavor, initially reminiscent of Vangelis; The bucolic air glides over
the OLFIELD countryside before culminating in an ethereal mood, enhanced by the guitar of another prodigy,
Michel. The finale is Genesis-esque, bringing the album full circle and demonstrating the intense prog structure
it establishes.
The only downside is that it's no longer KARFAGEN musically speaking, but it's excellent. (4.5)

KARFAGEN successfully follows up OMNI by incorporating different talents onto the vocals of this conceptual
sequel. Powerful lyrics, a striking prog cover, melodies that invite you on a journey, and prestigious guests.
OMNI, interesting when I myself refer to it as an unidentified musical object in my annual lists, is a symphonic
rock opera concept album that forms the continuation of this cycle. OMNI is for immersing yourself, traveling,
and dreaming.
The only downside is that it's no longer KARFAGEN in fact, but it's excellent.

DEVIN TOWNSEND The Moth (Experimental/Post Metal, 2026)

Sun, 7 Jun 2026 03:10:58 EST

Review by alainPP — DEVIN TOWNSEND, his 23rd album after more than 40 years of innovation, is a rock opera born from 10 years of
collaboration with the Noord Nederlands Orkest symphony orchestra. His line, "Courage is not the absence of fear,
it is being truly afraid and facing it anyway," demonstrates his unwavering determination.

A solemn opening, like a semi-prologue, soaring and orchestral, with the voice as the creative foundation;
mysterious pads on war, an epic, trumpets, and the music begins. An instrumental opera above all, the soaring
voice, the instruments shifting from gentle to titanic, in true TOWNSEND fashion. We enter the city and the
thoughts of a man grappling with his questions.

'Covered by Causes' is a climactic attack, the instruments tuning up, a Floydian Wallian note, and the wall of the
orchestra begins to move, languid and dramatic. It's ever-changing, electro-dub at times, vibrant, mysterious,
majestic, and oriental, like 'The Mothers'. 'Orion' has a wild sound, with its goose-like croaking; a piece lasting over
an hour with a stunning, spacey 'Intermission'.

'Lexin Returns' returns with mysterious voices, a typical preparation for war, reminiscent of Carmina Burana, the
mocking heavy riff kicking off 'The Big Snit'. The finale, starting with 'A Life', strikes me as more expressive, modern,
avant-garde, in fact. 'Metamorphosis' extends this fantasy-opera-classical-Townsenian universe, riding the wave of
power from the symphonic orchestration imbued with rock sounds. The theatrical moment of delving into Devin's
mind as if into the skin of John Malkovich? 'Stained Hearts' features Anneke singing, her phrasing instantly
recognizable before the aggressive, then ambient, finale, the duality so dear to Devin making its mark right to the
end.

Devin Townsend created this chrysalis-like opera with the help of Steve Vai, his friend since 1993, with Anneke van
Giersbergen as the other guest vocalist. Devin wrote everything, taking his time?10 years in fact?to realize his
childhood dream, aided by the conductor of the Noord Nederlands Orkest. An album as a testament to his faith in
music, a long, sincere album composed of three distinct parts.(3.75)

DREAM THEATER Systematic Chaos (Progressive Metal, 2007)

Sun, 7 Jun 2026 00:36:23 EST

Review by A Crimson Mellotron — 'Systematic Chaos' is studio album number nine from Dream Theater, released in the summer of 2007
through Roadrunner, the band's debut on the label. This album comes right after the massive live
release 'Score' (2006) and the excellent preceding studio album 'Octavarium' (2005). Featuring
several long and complex pieces, this is one of the lengthiest and perhaps most demanding DT albums
from the 2000s, exhibiting a really aggressive, ballsy sound, somewhat similar to their 2003 release
'Train of Thought'. To me, 'Systematic Chaos' is all about that cutting-edge technical display,
which is intertwined with some truly frantic sections, as this album definitely features some of the
heaviest Dream Theater recordings ever. Stylistically, there is very little separating this album
from the couple of studio LPs that came before it - the compositions are epic and complex, the music
is theatrical and aggressive, and the instrumental fireworks display is all over the place on SC.

Kicking off the album we have 'In the Presence of Enemies', the longest album track that is split in
two parts that bookmark the record. The band did not want to open or close the album with a twenty-
minutes-plus song, which is why the song was split in two. Many of its sections offer the typical
Dream Theater sound, which we recognize as sharp and bombastic, often featuring excellent melodies
and blistering riffs. Petrucci's contribution to this piece is particularly impressive and the
instrumental passages are absolutely astonishing. Part I of the suite is followed by 'Forsaken', a
more straightforward song that introduces a melodramatic sound that might not please all the
listeners (me included). We then have the three middle tracks, which for me represent the strongest
part of the album - both 'Constant Motion' and 'The Dark Eternal Night' bolster a riff-heavy,
muscular modern metal sound, while the darker atmosphere of 'Repentance' is peculiar but moving,
which is a bit uncommon for a DT album. The 15-minute-long suite 'The Ministry of Lost Souls' is a
technically-proficient epic that never stuck with me, unfortunately, and the song 'Prophets of War'
sounds rather bland compared to the rest of the album. However, closing off 'Systematic Chaos', we
have the second part of the 'In the Presence of Enemies', which is effective and aggressive,
capturing several peak performances from all five band members.

Overall, this record follows the familiar, tried and tested, prog metal formula from the band's
previous albums, which for me strips 'Systematic Chaos' of originality. Nevertheless, the quality of
the music is exceptional, and this album features some of the heaviest and crunchiest Dream Theater
music released to date. Furthermore, James LaBrie sounds very confident and mature on this album,
displaying some of his strongest vocals ever.

TDW / DREAMWALKERS INC. Bane of the Talebearer OST (Heavy Prog, 2026)

Sun, 7 Jun 2026 00:04:14 EST

Review by kev rowland — Back in the glory days of vinyl, buying a record was not just about the music it contained but what came with it.
There would generally be wonderful artwork, possibly lyrics, maybe even a gatefold sleeve, but some artists took it
even further. Being a keen Jethro Tull collector I revelled in the programme which came with 'A Passion Play' and
the pop-up figures on the sleeve for 'Stand Up', but of course the highlight was the mighty 'Thick As A Brick'. Not
only was it musically their finest hour, but it also came inside a broadsheet newspaper which even included a
review of the album itself! I spent many hours reading this, as I am sure many other fans did as well, but with the
advent of CDs and digital downloads this style of presentation mostly disappeared. I thoroughly enjoyed the release
of 'Mad Martins' by Gary Miller back in 2018 which brought a highly researched 100-page book to the table, and
now we have Tom de Wit, who surely must have brought himself close to the edge of insanity with this project.

His last release was 2023 with Dreamwalker's Inc. and the concept album 'The First Tragedy of Klahera' and it would
have been easy for him to follow with more of the same, but instead he decided to immerse himself in a very
different project indeed. Why not create an audio drama show on YouTube (season 1 is already released and
season 2 is following later this year), record a soundtrack containing 73 tracks (virtually all instrumental, nearly 3
hours long), deliver an 80-page artbook containing the story which is released with it, plus a videogame (in
development) which builds on the same? Tom provides lead vocals, backing vocals, rhythm guitars, percussion,
keyboards and orchestral arrangements and his brought in others to help him achieve his vision, including guitarist
Lennert Kemper who has been working with him for more than a decade, plus others on harp, bass, drums, sax,
flute, koto, violin, viola and cello as well as plenty of singers for the choir. The use of real instruments instead of
keyboards has had a huge impact on music which for the most part is modern orchestral mixing in with prog metal.

Of course, while playing the album, one needs to be reading the incredible artbook which comes with it which
explains the stories behind all the characters as well as providing artwork which depicts them all. There are art and
descriptions accompanying every song, all 73 of them, and then at the end of the book are photos and information
about everyone involved. One completes it all, then starts to wonder what is next? A proper book is surely not out
of the question, filling in all the missing pieces and providing the details we have not come across yet, and what
about a full-length feature cartoon?

Possibly the largest achievement with this album is that I thoroughly enjoyed playing it even without all of the visual
cues which come with it, and that is quite something when it is 3 hours long, covers a multitude of musical styles
but is often orchestral, with little in the way of vocals. It is a massive piece of work, and although the album has now
been released there is still a lot more to come before this chapter is complete, and one can only wonder if Tom is
still sane enough to travel this road again in the future or if he will take a very different path altogether. He has
never been one to do what is expected of him and continues to surprise.

Available as a triple CD (or on USB, which is not something one sees often), this is actually an album deserving of a
quadruple vinyl release, and it is a shame I cannot see that happening due to cost but there is no doubt this is a
release which in many ways defies description yet is thoroughly enjoyable throughout and is definitely something
to which I will often be returning. If you want the complete aural and visual adventure, then this is one to seek out.

L' OMBRA DELLA SERA Segreti Nel Nero (Rock Progressivo Italiano, 2026)

Sat, 6 Jun 2026 23:26:44 EST

Review by KansasForEver4 — It took fourteen years for L'OMBRA DELLA SERA to follow up their self-titled album released in 2012, which at the
time was a side project of LA MASCHERA DI CERA, both under the guidance of Fabio ZUFFANTI. Here, he is joined by
the cream of the crop of Italian progressive music: Alessandro CORVAGLIA (keyboards and vocals), Agostino MACOR
(keyboardist and cover designer), the excellent drummer Andrea ORLANDO, and the equally excellent
saxophonist/flautist Martin GRICE.

This "Segreti nel Nero" is conceived as a film, or more precisely, as a filmed symphony, composed of ten tracks.
Eight of these tracks run between 3:35 and 6:43, while two others are epics, as they say in the world of progressive
music, where vintage instrumentation takes center stage. Some tracks are complete reinterpretations of pieces
from their first album, which may displease many music lovers. The opening track, "Albert e L'uomo Nero," sets the
overall mood of the album, swirling and swirling, driven by Martin Grice's wind instruments (8/10).

"Gamma," gentler in its opening, illuminated by synthesizers, with a generous dose of mellotron in its second half, is
near sublime, Italian progressive rock (IPR) at its finest (10/10). It's a shorter version of the opening track from their
2012 debut album, with a killer sound. "Portrait of a Veiled Woman" is a simple, tranquil interlude, primarily driven
by Martin GRICE (7/10), which serves as an introduction to "Fantastic Fly," the first piece presented to the media. It
was an excellent choice, given its striking formal beauty (9/10). The majestic keyboards and the rhythm section
(Fabio ZUFFANTI and Andrea ORLANDO) create a hazy, ethereal soundscape, while Martin GRICE's saxophone
playing is non-stop.

"A Come Andromeda" is propelled by bass guitar and deep, dark keyboards before a flute-like refrain (again by
Martin) that lasts until 3:36. This leads into a rather surprising jazzy interlude, a bit of a jarring departure in my
opinion (7/10). It sounds more like a big band performance, perhaps in the vein of EWF or CTA, to stay closer to the
progressive rock genre. "La Traccia Verde," which follows with a lively, almost danceable rhythm, showcases
Agostino Macor's Fender piano before a vibrant organ solo, all illuminated by the magnificent saxophone of
Maestro Grice (8/10). "La Ballata Di Carini" is one of the album's vocal pieces; Alessandro Corvaglia had to
contribute, after all. It's a theatrical piece that didn't really convince me (7/10).

We now come to the main course of the album, "Le Venti Giornate di Torino" (The Windy Days in Turin), a nineteen-
minute epic that Robert Fripp's band, from the "Islands" era or even "Starless and Bible Black," wouldn't have
disowned. It features numerous flute variations and trills, Alessandro's soothing voice (I prefer him when he's not
straining it), and a martial rhythm from the eleventh minute onward, dominated by the rhythm duo (9/10), before
the explosion, the final whirlwind that leaves us in a state of intense bliss. "Canto Campane" offers a gentle
interlude with flute, piano, and Andrea's pads, a welcome respite from the previous track. It's true RPI in the
classical vein, good but nothing more (7/10).

Let's close the album with "A Blue Shadow," the second epic track on the record. A somber piano, a gentle
saxophone, the majestic mellotron orchestrating the whole, then, from the fourth minute onward, the rumbling
bass of Fabio Zuffanti, the abundant percussion of Andrea Orlando, and the frenetic saxophone, all lead us into a
mysterious maelstrom. Once again, it's very Crimson-esque in spirit and execution (9/10), and the finale is
breathtakingly beautiful.

A rich work, not easy to grasp, which will require multiple listens for all music lovers.Originally published at
profilprog.com

WISH The Endless Winter (Crossover Prog, 2026)

Sat, 6 Jun 2026 23:23:38 EST

Review by KansasForEver4 — The Italian band WISH has existed since 1992, but their first album (which I haven't heard) wasn't released until 2019.
Here we have their second album, released in late spring 2026, recorded by the same musicians.This album is the fruit
of a long journey. Its writing began in 2019, a few weeks after the release of their first album, "Stay Here My Friends,"
like a necessary exhumation of the past. The current dramatic and unpredictable global situation has brought us back
to the stories told in this album.Its title, "The Endless Winter," is clear: WISH speaks of war as an endless winter, gray,
desolate, and as dark as can be, pushing back all hope of a bright future. WISH followed in the footsteps of the
missing, visited the D-Day landing sites in Normandy, and gathered testimonies for a timeless yet very real concept.
This album is dedicated to all those who witnessed the horrors of that not-so-distant era.August 6, 1944, a date
forever etched in history for France and its allies. "Pointe du Hoc," the instrumental that opens WISH's album, is a little
gem (I don't usually comment on tracks shorter than three minutes). It features the ebb and flow of the sea, the drone
of planes overhead, and the soaring flute solo of guest Susanna Felicetti for a theme that truly moves you (10/10).A
near-perfect transition to the album's longest track, "Comandante Nino" (10/10), clocking in at eleven minutes.
Welcome to Piergiorgio Franceschelli, whose English accent is more than respectable for an Italian vocalist. The flute
once again works wonders, and Giorgio Simonetti on six-string is no slouch either; a great lyricism emanates from his
instrument, both electric and acoustic. "Collapsing" is more guitar-driven, with Salvatore Patti's keyboards more
understated. The fretless bass, played by another guest, Graziano Brufani, takes center stage. This track leans towards
hard rock or progressive metal, keeping things current (8/10)."The Four Rooms" (9/10) is brilliant symphonic
progressive rock, though not necessarily original. It's easy to listen to, beautifully sung by Piergiorgio, with Graziano's
fretless bass laying down an impeccable sonic backdrop, before a lovely Moog solo by Salvatore at 4:58 (unfortunately
too brief at barely thirty seconds).The transition to "I Watch You from Afar," of almost the same length, begins with an
ethereal piano, again featuring the fretless bass (things come in threes), and Salvatore Patti's synthesizers shine over
Massimo Mercurio's drums before a six-string solo ignites the piece midway through. Piergiorgio's vocal phrasing
sounds distinctly world-weary while remaining pleasant (9/10).I don't usually dwell on tracks shorter than three
minutes (which doesn't mean I don't listen to them), but WISH will be the exception. "On The Trail," an instrumental
composed by Salvatore, is illuminated by Susanna Felicetti's flute. Let's move directly to the closing track, "This Life"
(9/10), the one chosen by the band to introduce the album. This six-minute piece summarizes the narrative WISH
intended. A very calm track, like a softened Roger Waters (the melancholic side), it again features Susanna and her
flutes and concludes with a very lyrical guitar solo.Without bias, I wasn't expecting the Roman quartet to reach this
level, which makes it a very pleasant surprise, as the story being told is a significant element in my appreciation.

BELLA BAND Bella Band (Jazz Rock/Fusion, 1978)

Sat, 6 Jun 2026 23:13:08 EST

Review by The Progolyte — This will be the last jazz rock/fusion album from Italy I will be reviewing as I come close to the end of my
deep dive into Rock Progressivo Italiano and its various forms. It's a relatively obscure one-off project
named Bella Band their self-titled debut record contains a mere half-hour of music to go into. Listening to
it, it's your run-of-the-mill jazz fusion album of the seventies, having those fun and quirky vibes on similar
bands from the country like Arti E Mestieri, just maybe a little less technical and highly skilled. The
members of the band play alright, but I've definitely heard better across the hundreds of jazz albums that
I've listened to. With all that being said, it's still a charming little project that can display the elements of jazz
fusion and its characteristics. The personnel includes Riccardo Cioni on keyboards, Roberto Buoni on
woodwind and brass instruments, Luigi Fiorentino on guitar, Mauro Sarti on bass, and Tonino Camiscioni
on drums to cap it off.

The songs here are all quite short, being between five and ten minutes of length. They're all pretty good
and well-put-together pieces, if a little uninspired at points. For the most part, while it does have its
highlights, a lot of the album seems to lack an identity or something that makes it unique and has it stand
out among the dozens of other small jazz fusion records that came from Europe in the late seventies. One
of the things I did like about it, though, was that it was more in touch with earlier fusion instead of the
more funk and accessible direction the genre had seemed to be taking at that moment in time. Going
forward, side one was my favorite of the two sides, having the longest track, Promenade, as well as my
favorite one, Fairadiesis, which was a high energy and engaging composition reminiscent of Jean Luc Ponty
or Mahavishnu Orchestra. Overall, while it could use some extra details, I think the band did a good job
with what they recorded, and it was a nice experience in the moment.

In conclusion, I think I'll be sticking with a low 3.5/5 or high 3.25/5 for Bella Band's one and only album. It
just doesn't kick as hard as I was hoping, and there feels like something is missing from it. If they had that
one spark of creativity and originality that I love in all of my favorite albums, then maybe I would've given it
a higher score.

NUOVA ERA Il Passo del Soldato (Rock Progressivo Italiano, 1995)

Sat, 6 Jun 2026 23:11:23 EST

Review by The Progolyte — My introduction to the more modern Rock Progressivo Italiano band, Nuova Era, was their most recent
studio record, 20,000 Leghe Sotto I Mari, which came out last year and is apparently both their second best
and second most rated album. The reason it lays behind the first place spot is the band's 1995 project, Il
Passo Del Soldato. This is, according to ProgArchives, one of the best Italian albums of the time period and
the best to come from the nineties in the country. With all this acclaim surrounding it, I knew I just had to
check it out. After my first few listens, this is quite a strong album, combining elements of older Italian
albums like Terra In Bocca, Darwin, and Zarathustra with a more polished (almost neo-prog) twist. There's a
ton of grandeur surrounding the music, as well as being drenched in tons of symphonic keyboards that
echo back the amount of different sets Keith Emerson would play on. And while the songs on here are all
quite short (most not even breaking eight minutes), there's still a lot of material packed into these pieces.

The album is very consistent in terms of musical quality but seems to get lost when it comes to keeping
things fresh. Sure, the music here is very strong at points but can feel a little forgettable as it doesn't
advance in the ways I was hoping for. Beyond that, there's not really much to criticize here. My favorite
composition was Lo Spettro dell'Agonia sul Campo, which is around seven and a half minutes of mostly
instrumental music that can get that bombastic symphonic sound found in the Scandinavian bands while
still having that lighter tone to it. My other favorites include the title track and Armicrazia, which were the
longest and most detailed pieces on the record. I also really enjoyed the more antique and medieval feel of
the material, with the various melodies giving off a very interesting, classical, and engaging tone to the
songs. At parts it can feel a little soulless, but it's all around very strong and full of interesting elements to
be picked apart.

In conclusion, I had a lot of fun with this one, and though the hype didn't fully translate when I listened to it,
I would say this is still worth checking out if you want to get into the modern Rock Progressivo Italiano
scene, as it is one of the first of its kind. I'll be rewarding this one a strong 4/5.

XAVI REIJA Xavi Reija Electric Quintet: Nu Breed (Jazz Rock/Fusion, 2026)

Sat, 6 Jun 2026 21:22:26 EST

Review by kev rowland — It has been well over a decade since drummer Xavi Reija last released an album under his Electric Quintet banner,
experimenting with different styles and musicians in between, yet now we are back again. Of the musicians who
played with him in the last incarnation, 2008's 'Ritual', we still have his longtime sparring partner Du?an Jevtović
(electric guitar) as well as Rafael Garc]]>��(Fender Rhodes electric piano, Mini Moog) replacing ]]>�Du?an, and one by the two of them together, and the original songs then gave the musicians a springboard to move
and improvise together.

I have long been a fan of Xavi (and Du?an with his own releases) so it is always great to hear them working together as
they have such a strong relationship that it is always a delight. The first time I played this I fell in love with the
spontaneity and joy which comes from the speakers, as they channel the styles and moods of Bill Bruford and Miles
Davis to create something which is fusion-based and exciting throughout. Of course there are different tempos to take
us on journeys and provide contrasts, but it is music which is rooted in classic contemporary styles as XREQ push
boundaries in a similar manner to those who came before. While keyboard-led excursions such as "We Keep Walking"
may put the focus on Tom]]>�allowing himself to provide more of a stabilising and foundational role and Rafael providing the lift when the time is
right.

This is an album I have enjoyed immensely, as although everyone is a master of their instrument they are always
playing within themselves to ensure egos do not get ahead of themselves, and the result is a complex and complicated
album which is somehow also light and exceedingly fresh indeed.

VERSA A Voyage / A Destination - Round Trip Special Edition (Post Rock/Math rock, 2026)

Sat, 6 Jun 2026 20:58:05 EST

Review by kev rowland — To celebrate their 20th anniversary, Canadian outfit Versa have combined the two parts of their 'A Voyage/A
Destination' albums which were released in 2022 and 2024 respectively and combined them into one lengthy release
(3 hours) with additional tracks/ performances. The first thing I noticed, even before putting it on the player, is that the
cover of the new collection is virtually identical to that of Part Two, which seems very strange to me. This is the first
time I have come across this band and albums, so I was intrigued to hear what they were like, especially as the press
release says how highly they were regarded within the prog scene. I also noticed a huge number of guests, including
Jim Grey and Sam Vallen of Caligula's Horse, Nick D'Virgilio (Big Big Train), Marjana Semkina (iamthemorning), Eric
Gillette (Neal Morse Band, Temic), Ross Jennings (Haken), Lars Fredrik Fr]]>�Sound of Contact) and Michael Trew (Moon Letters) which can often bode well (Semkina in particular is hugely under-
rated).

There is no doubt this is a very clever album with a large amount of instrumentation and orchestration, and multi-
instrumentalist and composer Matthew Dolmage has obviously spent a great deal of time on the arrangements but I
soon found that listening to this was more of a chore than a pleasure, and it just went downhill for me from there. The
combination of post rock and progressive rock is intriguing, and individually the performances are excellent but there
was little here for me to grab onto and when I started looking to see how much longer there was until it ended I knew
my view was not going to be the same as those who have lauded these albums very highly indeed. Somewhat
interestingly, they were entered onto ProgArchives in October 2024, but since then there have been zero reviews of
their first three albums and only one for 'Part Two', so does that say something about how widely they are known or
about the albums themselves? Discuss.

I have nothing against lengthy albums or songs, but with nothing here connecting with me either musically or lyrically
all I can say is this is not for me. I am sure those who enjoyed the albums when they were originally released will gain a
great deal from this expanded release, but I cannot imagine it is something to which I will ever return.

RAFAEL PACHA Rafael Pacha with The Friends of (con)fusion: Not Normal After Music (Prog Folk, 2026)

Sat, 6 Jun 2026 18:26:50 EST

Review by JuanSaavedra — I had heard a little of Rafael Pacha before, but this album has made me pay much closer attention. Not Normal After
Music is a confident and richly detailed record that finds this Spanish multi-instrumentalist stepping more firmly into jazz-
fusion territory, and the result is one of the most enjoyable listens I've had from the Seacrest camp in a while.

The cast of musicians here is genuinely impressive. Kimmo P]]>�and the Finnish contingent also includes bassist Jan-Olof Strandberg, whose playing is one of the real highlights
throughout, and saxophonist Risto Salmi, whose contributions add a lot of warmth and colour. Alessandro Di Benedetti
brings his distinctive keyboard personality to several key moments, and Michael Manring's appearance on hyperbass is
exactly as special as you'd expect. The chemistry between all these players is what gives the album its character.

What strikes me about Pacha as a musician is the sheer range of instruments he brings to the table, from electric and
acoustic guitars to viola da gamba, zither, recorder and Portuguese guitar. Even when the overall sound leans toward
fusion, there's always something slightly unexpected in the arrangements that keeps things interesting. And while this
album is less focused on his folk wizardry than some of his earlier work, that personality still surfaces in subtle ways.

The album flows naturally between instrumental passages and more structured pieces, including an ambitious 18-minute
epic that showcases both the collective and individual strengths of the musicians involved, with vocal contributions from
Alessandro Di Benedetti and the lovely Paula P]]>�the more classic prog-oriented tracks, bringing a warm and distinctly retro feel that works beautifully in context.

This is a very solid album and probably the one that has made me most curious to go deeper into Pacha's catalogue. Four
stars, well deserved.

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

Sat, 6 Jun 2026 18:21:30 EST

Review by JuanSaavedra — Spain keeps delivering, and Juan Belda & the Bit Band are yet another reason to be excited about what's coming out of
that scene right now. Memories of a Loser is one of those albums I've been returning to constantly since I first discovered
it, and each time there's something new to notice. It's the kind of record that pulls you in almost without warning.

The music sits at a fascinating crossroads between jazz, rock, electronics and experimental composition, but it never feels
like a genre exercise. What makes it work is the sense of atmosphere and interplay throughout. Structured passages sit
naturally next to more open, exploratory moments, and the balance between the two gives the album both direction and
a certain freedom that keeps things unpredictable in the best possible way.

The tracklist is full of highlights. The opening "I Had a Dream", featuring the lovely vocals of Madoka Belda, sets the tone
immediately with something warm and slightly dreamlike. The title track "Memories of a Loser" is another standout, built
around a great interplay between trumpet, saxophone and keyboards that really showcases the collective chemistry of
the band. And then there's "El lado oscuro de la calle", which brings a more grounded, almost noir-ish energy that I found
surprisingly addictive. The presence of collaborators like Jorge Pardo and Pelayo Arrizabalaga adds a lot of personality to
the record, and you can really feel that this is a project built around genuine musical relationships.

What strikes me most about this album is how cohesive it feels despite covering so much ground. The reinterpretations
included, pieces by The Beatles, David Gilmour, and others, are so fully absorbed into the language of the band that they
barely feel like covers at all. That's always a sign of a strong artistic identity.

I'm genuinely fascinated by this artist, and Memories of a Loser feels like a real statement of purpose. Highly
recommended for anyone who enjoys jazz-influenced progressive music with a strong sense of personality and
atmosphere.

TRIBAL TECH Face First (Jazz Rock/Fusion, 1993)

Sat, 6 Jun 2026 18:02:06 EST

Review by Fercandio46 — With the quartet that would reap the greatest rewards from their Weather Report-influenced jazz-rock, and also from
funk, Tribal Tech released Face First as a tight four-piece orchestra taking turns playing, in that particular period of the
90s, still with remnants of the 80s, the great blues school of Scott Henderson, and Scott Kinsey playing either jazz or
arrangements that imitated horns.

In Canine, Kirk Covington experiments with a more modern groove on the drums, almost a loop where the others
begin their solos; perhaps here one can trace one of Javier Malosetti's influences before he achieved his own sound.
At times they launched into a true tour-de-force between guitar, bass and drums; logically, this fusion rock side
distanced it from the ethnic sound of Zawinul, Pastorius, Shorter and company, but nevertheless, it is what remains
floating after the rock haze dissipates: the keyboard arrangements and that characteristic bass sound.

Revenge Stew is a surprising acoustic experiment that, despite its rustic feel and accordion-like sound, is more than
successful, at times reminiscent of Bela Fleck & The Flecktones.

Salt Lick truly features complex leaps in its composition, achieving a certain darkness within the fusion context that
makes it original. It then embarks on jazzy, fast-paced ascents, this time with distortion.
The Crawling Horror is where the combination of bass arrangements, keyboards, and jazzy atmosphere, twisted by
the guitar, is most fully realized, and at times Scott Henderson's fingerpicking is reminiscent of Allan Holdsworth.

Boat Gig is pure, unbridled expression of Henderson's love for the blues, which he plays like Stevie Ray Vaughan, and
also like Robben Ford, with whom he shares a passion for funk. It's also the only song on the album with vocals, and it
flows with a naturalness and power that more than earns its place.

Excellent musicianship, complex arrangements at times within a fusion framework that could well be described as a
rock-infused Weather Report, with a touch more blues and funk. But music isn't a recipe, and it's rarely as simple as
multiplying elements; rather, it's that touch of the keyboard, that drum beat that makes each album a unique
experience, and Trival Tech is no exception.

WIGWAM Fairyport (Jazz Rock/Fusion, 1971)

Sat, 6 Jun 2026 18:00:02 EST

Review by Fercandio46 — Losing Hold is precisely that; Wigwam's music was no longer pure jazz. It incorporated atonal classical elements,
pauses, and the melody turned upside down. Losing control wasn't a threat but rather an affirmation of what would
be heard throughout Fairyport. Jukka Gustavson sang as if from beyond the grave, his unique melodic sense
comparable to Jack Bruce's equally distinctive use of harmony.

Jukka Gustavson's keyboard overlaps with Jim Pembroke's piano, plus Pekka Pohjola's bass...the compositional
trilogy that would revisit those unique opening lines that were unlike anything they had done up to that point...to
culminate the opening number and continue with Jukka Tolonen on an ethereal acoustic guitar, along with Jim
Pembroke's piano and voice.

Fairyport returns with Gustavson's personal stamp that accelerates into an operatic chorus, without losing its jazzy
sensibility; therein lies that strange, prophetic atmosphere, as if a great truth is about to be revealed, sung with
great feeling, until a jazz section arrives unexpectedly and night falls in the fairy port, with that prestige they had for
the genre, that unique feeling plus the audacity to break molds and perhaps without knowing that what was once
modern...will be so forever.

The bassoon and classical oboe alternate frenetically with the jazzy energy until the initial melody returns, only to
be reused in Gray Traitors but with a changed rhythm, stretching it out once more in a lyrical style. The fluidity of
the transition from the vocal to the instrumental section is remarkable, with the organ, piano, and drums tying
everything together, especially considering how often they accelerate and slow down.

The entire section of Gustavson's pieces unfolds like operatic passages, recitatives interspersed with instrumental
sections, returning to the central melody only to abandon it and then revisit it later. Caffkaff, The Country
Psychologist takes a dark turn, and when the instrumental section finally arrives, it's a strange, jazzy distortion
followed by organ and more percussion, alternating between highly precise, rigidly structured sections and
improvisational passages.

The clarinet's magical touch in May You Will Be Done Dear Lord, along with those back-and-forth movements, as if
the piano and bass couldn't decide which direction to take, helped create that strange atmosphere, further
enriched by the entrance of the saxophones.
One step forward...two steps to the side...but in the fairy port, this strange world, that's not going backward.
Similarly, "How To Make It Big In Hospital" turns rock, again with Jukka Tolonen taking control.

In Hot Mice it was the piano that was in charge of giving depth and mystery...to that instrumental piece, while P.K.'s
Supermarket was a boudeville step with harpsichord whose circus atmosphere diverted the dramatic action that
returned in One More Try, where with the winds and the violin a certain symphonic atmosphere is resumed, until a
Santanesca jam session shakes the lethargy to culminate with Pekka Pohjola's violin again.

That aura of mystery that had so captivated me evaporated in Rockin' Ol' Galway, although Pekka's bass is always
enjoyable, and in Every Fold the melody is quite placid, except for a certain keyboard arrangement, barely a hint of
atonality that recalls the initial premise so original, which nevertheless does not overshadow an album that is at
times almost conceptual, very focused...and at others deviating from the objective set, plus a live section to
complete what at the time was a double album.

DIFFERENT LIGHT Binary Suns (Part 2 - Alternate Reality) (Crossover Prog, 2026)

Sat, 6 Jun 2026 16:01:10 EST

Review by tszirmay — After a first album in 1996 "All About Yourself", Maltese expatriate, vocalist and keyboardist Trebor Tabone moved
to Prague, Czechia in the early 2000s and reformed a new local crew to continue with a 'changed illumination' that
led to the masterful 2016 recording "The Burden of Paradise" and "Binary Suns Chapter 1 -Operant Condition" in
2020 that were both met with critical acclaim. Together with talented fretman and multi-instrumentalist Petr Lux ,
Jirka Matousek on bass, and David Filak on the drum stool, Trevor has finally reached the top of the podium with a
masterful push, a completely impressive modern take on melodic prog, that should consolidate their ongoing
career with massive doses of appeal and credibility.

The 7 part "Mindspeaker" suite turns on the ignition of an immediately thrilling sensibility that encompasses a swing
from Neo to Symphonic Prog, accessible perhaps, ear-friendly certainly but stitched together with eloquence and
sophistication, as witnessed by the myriad of details presented by the players. Over the course of its 20-minute
running time, the instrumental prowess is overtly polished, the vocals enjoying telling the story with just the right
amount of conviction. The serpentine arcs of melodic twists and turns are always kept in check (sorry for the pun)
with a brazen and bold crunch that titillates the ears ("The Escape Room" and "Mythopoeia"), where the symphonics
kick in with frenzied abandon. The vocals are quite unique but musically one can imagine a harder-edged 'Trick of
Tail' and you are halfway there, leaving enough of their own style to shine through. Larry Gowan had an album
called 'Strange Animal' back in 1985 that has a similar feel, a progressive emphasis on song with outstanding
melodious expertise, much of the music here reminds me of these influences. Lux, Matousek and Filak thoroughly
impress in maintaining the sizzle all along the ride. The sweeping orchestration on "The Singularity " glows like a
shining star, the underlying bass line elevating the piece to enjoyable height, as its veers into the finale "Labour of
Love", a sorrowful ballad that oozes responsibility and personality, with a gigantic bass intervention from Matousek
that put a huge smile on my ears. A masterful piano flurry puts tucks in the blanket.

The 4 part "The Syncretist" clocks in over 12 minutes with urgent pomp and circumstance , the riffing Lux guitars
shaving sparkling splinters and the boom-boom-tchak bass /drum assault absolutely numbing the nerves, while
Trevor lets his fingers do the singing on the ivories. The second part 'Pillages of Souls' puts the listener in direct
pleasure mode, nothing extreme or technical mind you, the magnified vocals and piano becoming even more
attractive, a hint of Supertramp permeating the air. Damn solid section with a terrific lead guitar blurt. The acoustic
guitar shifts the mood on 'Full Circle' adding conviction to 'the image of the angels', a consummate segue while
staying in the pocket. The fourth section dives into desperation and sorrow, as if to punctuating the story with and
ending that wishes only the best. Nothing more, nothing less. This suite is ,simply put, a wonderful progressive
journey that merits being heard and appreciated, a mellotron saying goodbye and a piano lowering the curtain.
A stand alone 7 minute + job on "A Fool's Errand" (see what I meant by Supertramp?) , offers a throttling premise,
Tabone 's voice higher pitched, while the trio bash ahead unrepentant. This is surely the most straightforward track
here, a well-developed structure that has an almost Beatles-like simplicity, clanging guitars, insistent piano and
dense vocals, while the rhythm section bangs in the needed nails into the cross. Lux does nice torture on his
fretboard, just for good measure.

"Constant Silver Lining" is another 4-part composition, this time 11 minutes are involved, and we revert back to a
more cinematographic atmosphere where the keyboards set the canvas with darker motifs, the pounding relentless
as Filak and Lux are on the same rhythmic page ( like some band called Led something), it's a heavy hitting, bruising,
trembling rocker that has Trevor crooning on top of the surfing wave, 'living the dream'. The two central sub parts
are more contemplative, as if lost and looking for a new direction, a new library of data to guide us there perhaps,
the corkscrew lead guitar and synth solos devilish. Melancholia comes back for another curtsy, the chorus eye-
opening and habit-forming, with broad strokes and compelling drama. Piano and cello beckons on the horizon.

A trio of sections on the bellicose "The Stalker Talks", and here, the mood gets substantially hotter and heavier, with
heavy-metal axe gymnastics that screech into the cortex, stop and start variations that ultimately lead to 'a state of
disarray' that compels one 'to do it all over again', round and round we go. Confusion will be our epitaph is
expressed by the cyclical instrumental display that verges on insanity, love is never clearly cut and definable, after
all, it is a feeling, iznit? The piece ends on a positive tone, as if moving through time, ready to face any consequence.

"Last Call" puts the final set of algorithmic codes on the finale (check the cover art for clues LOL), a piano-centric
melody that exudes playfulness, a stunning acoustic guitar splurge to keep in mind, a clear sense of temporary
finality. The orchestration usher the arrangement into sailing into the wide blue yonder and being set free.

If you enjoy the various bands named above (I can add the superb Canadian band Mystery to the list), then you will
find the different light glowing in your heart and mind, for many moons and suns. Until the end.

4.5 relation chips

RED SAND The Sound of Silence (Neo-Prog, 2025)

Sat, 6 Jun 2026 15:27:59 EST

Review by kev rowland — Canadian progressive rock trio Red Sand are back with their twelfth album, but I note there has been a line-up change
since I reviewed 2021's 'The Sound of the Seventh Bell'. Simon Caron (guitars, bass, keyboards) and Perry Angelillo
(drums) have now been joined by singer Michel Renaud, who was actually there in time for 2024's 'Pain't Box'. Formed
by Caron in 2004, they have always been heavily influenced by the British Neo scene of a decade earlier, with
Shadowland and Pendragon being obvious nods, but they also look back into classic Genesis (especially in the odd
lyrical influence and hinted melodic progression).

"Watcher" has Nick Barrett all over it, apart from when it veers into Roger Waters or Gabriel territory, and one can
easily imagine a slightly revised version of this appearing on 'The World', which of course was released more than 30
years before this album. But while some of the sounds and styles are familiar, including some wonderful Aragorn style
basslines, it is way more than "spot the influence". This is an album with loads of space within, and it always feels far
more like a band release than a multi-instrumentalist and a few others. There is restraint, and a lack of ego, both of
which means it is far more enjoyable than many others recorded in a similar manner.

I did feel the last album of theirs I heard did not have enough bite and contrast, but this is a step up with sharp edges
and distinct changes in style with the dynamics and changes ensuring this is a release which keeps the listener
invested throughout.

NINE SKIES Horizons (Greatest Hits) (Neo-Prog, 2026)

Sat, 6 Jun 2026 15:07:11 EST

Review by kev rowland — This is a very limited-edition release, just 100 physical copies, bringing together not only music from their four albums
but also artwork, as the cover contains elements easily recognisable to fans. This album is a reflection back on what
they have achieved to date before they move onto the next chapter and is a nice collection of some of the wonderful
music this French progressive band has delivered in the last 10 years. Of course, mention the name Nine Skies and
one must also remember Eric Bouillette who was taken from us far too young, and this release is dedicated to him.

I like the fact this is not presented in chronological order but with songs chosen in a manner to make this experience
totally immersive and enjoyable. They have utilised a great many guest musicians over the years, both on vocals and
instrumentation, but their greatest strength has always been in the arrangements and the way they combine melody
and musicality with space, different tempos and styles to create something which is very much Nine Skies. They can
switch from electric force to acoustic, have a bass as the main melodic lead and keyboards providing a background, or
can easily switch altogether as they combine acoustic and singer songwriter elements with jazz, progressive rock and
pop to create something which happily switches between Neo Prog and Crossover, always inviting, as they bring in
influences from Genesis, Camel, Floyd and many more. They never sound as if they are French, but rather as if they
have been immersed very much in the British scene yet also sound like no-one else.

Their music is always mature, with a great deal of both depth and breadth, ensuring the listener enjoys the initial
journey yet there is always far more to discover the more time is invested. This album is a great way to discover what
has gone before and I look forward to what is to come with great interest.

NIGHT THORN Pilgrimage (Crossover Prog, 2013)

Sat, 6 Jun 2026 14:45:05 EST

Review by kev rowland — One would think that after decades of reviewing albums I would be better organised, but no, and I honestly have no
idea why I am currently listening to the only album released by Canadian band Night Thorn in 2013. Apparently, they
were a musical collaboration between Daniel Enns (guitars, organs, synths, bass, percussion, vocals) and Daniel
Puurveen (drums, percussion, electric guitar, vocals) with various others. This album was recorded in a garage in
Alberta and is a concept regarding the journey a young man takes to re-discover his childhood and he writes in a
journal detailing what he finds. The songs are all different journal entries, and although they are individual songs they
are set so they flow directly into another.

In many ways this reminds me of the demo tapes I often used to receive in the 90's from bands who were far from the
finished article but there was some promise which may have delivered something fascinating if they kept at it. There
are some interesting moments here and there, with a Floydian outlook on life and long keyboard chords, but for the
most part this is trudge through a morass which does not deliver the outcome one would like given all the effort. The
vocals are generally poor and too low in the mix, and it moves between ambient and progressive, with the latter being
the primary style, and overall it comes across as something which would have been forgotten long ago if it were not
for the internet.

CORPORESANO Corporesano (Rock Progressivo Italiano, 2019)

Sat, 6 Jun 2026 07:48:18 EST

Review by andrea — Corporesano took form in Brescia in 2015 and soon started composing original music inspired by seventies prog.
In 2019 they released an interesting eponymous debut album on the Mellow Records label with a line up featuring
Lorenzo Ussoli (keyboards, backing vocals), Francesco Marchina Ares (lead and backing vocals), Simone Sandrini
(guitars), Giordano Porta (bass) and Marco Dolfini (drums, percussion, backing vocals). Their music is dreamy, soft
and pleasant though not particularly challenging. The art work by Giordano Porta, inspired by the fantastic
landscapes by Roger Dean, tries to describe the musical and lyrical content...

The opener "Alle porte di Zion" (At the gates of Zion) is a slow, reflective piece that evokes the end of a man's
earthly journey at the gates of Zion and his liberation from pain, which leads to a state of infinite peace. It's an
ideal place, where you can listen to music while sitting on green meadows and get lost in a deep sense of well-
being surrounded by a flow of transforming souls...

"Labirinti retorici" (Rhetorical labyrinths) is an introspective and dreamy piece where music and lyrics evoke the
figure of a man in search of inspiration, lost chasing his fantasies through the alleys of an ancient city or in
splendid gardens (the lyrics refer to the Boboli Gardens in Florence, a large park originally designed as the garden
of the Medici family's Pitti Palace in the mid-16th century that houses statues of various styles and periods, large
fountains, and artificial grottoes). Then, the protagonist finds himself composing melodies on the beach in Rimini,
applauded only by dolphins. Useless thoughts are dispersed by a wind that carries with it the voices of insensitive
sirens...

"Nel bozzolo" (In the cocoon) tells the story of a man who can't find his place in a shattered, hopeless world and
withdraws into himself. He seeks protection in a cocoon where he can sleep and dream. Upon awakening,
however, a metamorphosis occurs: the cocoon opens, and the protagonist soars like a butterfly, reflecting on his
past and trying to savour the nectar of life, leaving behind the shards of his shell...

"Statim vivus fierem" (I would immediately become alive) is an introspective piece, titled in Latin, that speaks of the
need for reconciliation between humanity and nature. Under a starry sky in the Taiga, the protagonist experiences
visions that blur with reality. In that place, he feels part of an ancestral history and in balance with the universe...

"Sulle rive del fiume Giordano" (On the banks of the Jordan river) describes a traveller sitting in silence on the
banks of the Jordan river, a river that flows through the tormented lands of the Middle East and ends into the
Dead Sea. The protagonist dives into its waters, and when he resurfaces, time and space lose all meaning for him.
He experiences an angelic peace and is overcome by celestial visions...

"Lupo solitario" (Lone wolf) describes a man with a rebellious spirit who reflects on his past and his mistakes. Now
he realises that he must move forward with humility and courage, without heeding siren songs that might divert
his path. For him it's time to start over and make sense of his new role as a father, with transparency and
honesty...

In "Onda inarrestabile" (Unstoppable wave) the music and lyrics evoke a powerful wave, capable of tuning cells,
causing chaos, and instilling vibrations, vertigo and happiness. The lyrics were partially inspired by "The Sirius
Mystery", a book by Robert K. G. Temple supporting the pseudoscientific ancient astronauts hypothesis that
intelligent extra-terrestrial beings visited the Earth and made contact with humans in antiquity and prehistoric
times...

"La zavorra inutile" (The useless ballast) evokes the image of a man crushed by an unbearable weight. What weighs
him down is anxiety about the future and regrets about a past that can never return. To move forward, he clings to
the habits, judgments, and clich]]>�however, the protagonist senses that within him there is still a great life force and an ocean of energy. He regains
his balance and forgets the fears of the future and the regrets of the past to live in the flow of the present, the only
true aspect of reality...

"Lo spirito della montagna" (The spirit of the mountain) describes the strength and beauty of nature by identifying
with the benign spirit of a mountain that teaches us to honour life. The spirt bestows peace, silence, and serenity
upon those who appreciate it and its magical songs resonate throughout the valley, bringing joy to those who
listen...

The closing track, "I venti dell'inverno" (The winds of Winter), is a piece suspended between nostalgia and hope for
the future. The protagonist turns his thoughts to a past love, hoping that the sweet moments they shared will
return. He feels almost swallowed up in a dark vortex where icy winds blow. Then, he becomes aware of the need
to overcome the past and look to the future with confidence. New encounters and new ideas can still shape a new
path in his life...

On the whole, a really good work that deserves listening to. Unfortunately the band split up soon after the album
was released, but you never know. In Italian prog reunions can always happen.

PATRICK MORAZ The Story of I (Crossover Prog, 1976)

Sat, 6 Jun 2026 06:51:40 EST

Review by ken_scrbrgh — Hold down the window

Hold out the morning that comes into view

Warm side, the tower

Green leaves reveal the heart spoken Khatru

Yes

Welcome to the "once and future rainforest."

To ponder Patrick Moraz' "The Story of I" in 2026 certainly necessitates a "high level" perspective that
reveals the "warm side of the tower."

In the ensuing fifty years since the release of the five Yes solo albums, one might assert that the sum total
of these efforts constitutes what could have been another Yes studio album between "Relayer" and "Going
for the One."

Having seen Yes on June 5, 1976, in Jackson, MS, I am fortunate to retain the programme from the "Solo
Albums" tour. The center of this programme displays an evocative group photo: From left to right, Moraz,
White, Squire, Anderson, and Howe gaze "heavenwards" in what one could suggest is a harbinger of the
notion of "mirror to the sky."

What has become known as "The Story of I," lays out Patrick Moraz' keyboard virtuosity and his version of
"Magic Realism," contemporaneous with Genesis,' "A Trick of the Tail."

There are other parallels to Moraz' imaginative quest in the Amazon. Most notably would be the recurring
monolith in "2001: A Space Odyssey." To experience the totality of "The Story of I" is to observe a symbolic
entity that draws into it the awareness that "There's Nothing New, Except What's Been Forgotten."

"The Story of I" can be interpreted as Patrick Moraz' answer to "The Gates of Delirium," "Close to the Edge,"
"The Remembering," and, in scope, "Thick as a Brick" and/or "A Passion Play."

As Moraz' and the listener's Imaginations encounter this grand edifice in the "once and future rainforest," a
narrative does emerge:

A sorcery of light and shade

Goes ringing on inside

Fallen like an angel

Crying out with pride

In this extended piece, "I," (for the lack of a better symbolic representation), Patrick Moraz has gathered a
wide-ranging "cast" of supporting performers to relate this magical tale of unexpected love within the
complexities of an archetypal rainforest.
John McBurnie is the lead male vocalist and author of the English lyrics; Moraz is responsible for those in
French. Vivienne McAuliffe is also lead female vocalist of the English lyrics; those in French, Veronique
Mueller.

Moraz draws upon a wide range of supporting musicians. Jeff Berlin, who would later support Bill Bruford,
plays the bass guitar. Alphonse Mouzon and Andy Newmark split duties at the drums; Mouzon for roughly
the first half of the piece, and Newmark for the balance. Ray Gomez is the lead guitarist. The children of
Morat, Switzerland, are the chorus.

However, there is also another "chorus:" the Percussionists of Rio de Janeiro. Like the chorus found in
Greek Tragedy, these percussionists are almost ubiquitous, lending commentary from the paradigmatic
rainforest.

One might assert on, first encounter, the segment entitled "Cachaca" (a spirit derived from fresh sugarcane
juice) is a bit "annoying." Nevertheless, a few listenings and attention to "Cachaca's Children's Voices" on the
2006 remaster will yield fascination with this crazy, jambalaya-like theme. As a "Baiao," this element of the
totality of "I," conveys one culinary aspect of the rainforest: the essential choreography of rice and beans.

There is another benefit presented to the listener in the 2006 remaster of "I:" "Cachaca Variations." Here,
we can experience some of the improvisational foundations for Moraz' first solo album.

Now, the "narrative" of the album moves forward from exposure to "the warm side of the tower," entry into
it, and the development of a love story. Along the way, Moraz demonstrates some fairly radical keyboards:
I single out the section, "Descent."

Perhaps, most noteworthy in the history of Yes is "The Symphony in the Space." Not only is this a suggestive
solution to the trials and tribulations of the Human Condition, but also, in its ending, an homage to the
ending of "Yours Is No Disgrace."

Not to be pretentious or grandiose, but standing mentally and spiritually before what we know as "The
Story of I" is somewhat analogous to encountering Moraz' "once and future" edifice in the rainforest.

What a work a hypothetical studio album between "Relayer" and "Going for the One" might have been . . . .
Our challenge is to construct, imaginatively, what this might have been. Of course, what do we have when
we say: "Coulda, Woulda, Shoulda?"

CRIMSON GLORY Chasing the Hydra (Progressive Metal, 2026)

Sat, 6 Jun 2026 05:26:38 EST

Review by UMUR — "Chasing the Hydra" is the fifth full-length studio album by US, Florida based heavy/power metal act
Crimson Glory. The album was released through BraveWords Records in April 2026. It's the successor
to "Astronomica" from September 1999, so it's no less than 27 years down the line from the last
album release. Although Crimson Glory released a few singles in the early 2010s and played some
sporadic shows (in the years 2005-2013) it wasn't until 2023 that they reunited for real and brought
in the two missing pieces for their lineup in guitarist Mark Borgmeyer and lead vocalist Travis
Wills (original singer Midnight died in 2009). Ideas for new material also began to appear and
finally after 27 years "Chasing the Hydra" is here.

Not surprisingly Crimson Glory have returned to the US power/heavy metal music style of their
1986-1988 heyday and the albums "Crimson Glory" (1986) and "Transcendence" (1988) and they don't
once find inspiration in their next two albums "Strange And Beautiful" (1991) and "Astronomica"
(1999), both of which are usually not lauded by their fan base. Just as the case was on the mid- to
late-1980s releases there is a slight progressive metal touch to the proceedings, but it's not a
dominant trait and Crimson Glory are generally a more straight forward US power/heavy metal act,
although in the more sophisticated end of the scale. Wills is a skilled vocalist who can sing both
mid-range rough vocals and higher pitched screaming vocals. It was always going to be an impossible
task to replace Midnight because of his unique voice and piercing helium screams, and Wills
thankfully don't try to replicate the past but instead brings his own vocal style and voice to the
table and they work perfectly with the instrumental part of "Chasing the Hydra".

"Chasing the Hydra" features a powerful, clear, and detailed sound production and it's a sound which
is perfect for the material. Although Crimson Glory was overall never the most unique sounding band
on the US power/heavy metal scene, and especially Queensr'che always sounded like a big inspiration,
Crimson Glory's long recording hiatus has meant that they have had the option to choose to play
exactly the type of music that they felt like, and therefore "Chasing the Hydra" is also a lot more
heavy and aggressive than for example the last many Queensr'che releases, which have otherwise seen
that band return to a more heavy metal oriented sound. "Chasing the Hydra" is just much less
polished, epic, and powerful and it's therefore closer to the US power/heavy metal of contemporary
releases by Metal Church, Vicious Rumors, and Helstar (sans the thrash metal elements of those three
artists) than they are to Queensr'che.

Listening to "Chasing the Hydra" it's obvious that the world missed Crimson Glory and that their
comeback is a welcome one. Band's playing this style of music with this much skill, experience, and
conviction are hard to come by today, and it's great to know that someone is still holding the flag
up high for the US power/heavy metal genre. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

JEFF WAYNE The War Of The Worlds - ULLAdubULLA (The Remix Album) (Crossover Prog, 2000)

Sat, 6 Jun 2026 03:14:25 EST

Review by AtomicCrimsonRush — The War of the Worlds: ULLAdubULLA ? The Remix Album is a strange but fascinating offshoot of Jeff Wayne's
bombastic sci-fi epic.

This remix project takes the theatrical prog-rock of the original War of the Worlds and drags it firmly onto the
late-90s-00s dancefloor. Prog trance indeed with lashings of house, and techno-adjacent versions, often
stripping away the narrative drama in favour of rhythm and atmosphere. But is it welcome? Admittedly I miss
the original powerhouse versions, who wouldn't? So the result is uneven though never boring. Some tracks hit
surprisingly hard?especially the more propulsive remixes of "The Eve of the War" and "Forever Autumn,"
which reimagine the original themes as club-ready melancholic anthems. But it all feels like novelty
experiments and keys face it without the narrative voice they lose the tension and storytelling that made the
original so distinctive and brilliant.

What makes ULLAdubULLA interesting is its sheer audacity as it treats a grand, orchestral concept album as
raw material for electronic reinterpretation. Definitely not essential listening in the Jeff Wayne catalogue, but it
can be treated as a curious time capsule of when prog, gaming culture, and club remix culture briefly collided

YES Mirror to the Sky (Symphonic Prog, 2023)

Sat, 6 Jun 2026 03:00:16 EST

Review by AtomicCrimsonRush —

Mirror to the Sky is a late-career prog rock statement from Yes that leans heavily into atmosphere, texture,
and long-form composition rather than hooks or radio-friendly structure.

The album feels lush, spacious, and often meditative. Steve Howe's guitar is still the spine of the record,
weaving melodic lines that drift between gentle acoustic passages and more expansive, symphonic builds. I
always love hearing him launch into lead guitar passages that drift into the stratosphere. When the band locks
into a groove or gradually escalates a theme, you get that classic prog reward which is slow-burning
immersion.

Mirror to the Sky is a solid entry in the Yes catalogue, very reflective and easy on the ears. You can't mistake
that distinctive Yes sound and admittedly I was drawn in by the art on the cover again. I don't think its a
masterpiece by any means but it's a journey into modern prog rather than high-impact drama.

DAVID GILMOUR Live at Pompeii (Prog Related, 2017)

Sat, 6 Jun 2026 01:39:09 EST

Review by AtomicCrimsonRush — I reviewed the DVD of this so heres the audio review. Right off the bat I can say that you are genuinely missing
out if you have not seen the visual display on offer here, its mind blowing when the light show takes off
especially the dazzling light displays on Run like Hell with a pyrotechnic ending that literally explodes the
Pompeii collisseum. On Comfortably Numb we are treated to an eyeball searing laser show that is a feast for
the eyes. One of These Days is incredible, with psychedelic strobe lights and Gilmour makes that slide guitar
scream and howl, as good as the Pink Floyd days. High Hopes is beautifully performed with a clanging bell and
soaring lead solo. There's great sax on Money also, a powerful performance. Gilmours voice is wonderful and
he is joined by a brilliant band. The three singers take over on Great Gig in the Sky which is a different variation
on Clare Torry. Its also great to hear Gilmours songs as I am not so familiar with these. I particularly like On an
Island. The sound quality is excellent but again I rather watch this with the visuals as juxtaposed together its an
enthralling experience. Overall this is a great concert worth devouring on DVD and has some fascinating
special features.

DAVID GILMOUR Live at Pompeii (Prog Related, 2017)

Sat, 6 Jun 2026 01:32:08 EST

Review by AtomicCrimsonRush — One of the greatest concerts of David Gilmour with an enthralling set list to please Pink Floyd fans. There are
some incredible lead breaks here and dazzling light displays especially on Run like Hell with a pyrotechnic
ending that literally explodes the Pompeii collisseum. On Comfortably Numb we are treated to an eyeball
searing laser show that is a feast for the eyes. One of These Days is incredible, with psychedelic strobe lights
and Gilmour makes that slide guitar scream and howl, as good as the Pink Floyd days. High Hopes is
beautifully performed with a clanging bell and soaring lead solo. There's great sax on Money also, a powerful
performance. Gilmours voice is wonderful and he is joined by a brilliant band. The three singers take over on
Great Gig in the Sky which is a different variation on Clare Torry. Its also great to hear Gilmours songs as I am
not so familiar with these. I particularly like On an Island. Overall this is a great concert worth devouring on
DVD and has some fascinating special features.

DAVID GILMOUR Luck and Strange (Prog Related, 2024)

Sat, 6 Jun 2026 01:15:53 EST

Review by AtomicCrimsonRush — The peaceful atmospheric music of David Gilmour is mesmerising on his final solo album. He is 80 now so we
may suspect there is nothing more to come and this is a fine farewell to his brilliant career. His powerhouse
lead guitar work is here along with shimmering keyboards and reflective lyrics. He is joined by Romany
sounding angelic on vocals, and Gabrielle who plays a haunting harp on the album. Highlights on this are Luck
and Strange, Between two points, Dark and velvet nights and Scattered that are as good as Gilmour can offer.
Overall its an album to relax to and put on headphones and just lose yourself in the ambience and beauty of
the poetic symphonic waves. It is certainly one of Gilmours best though his prog days have faded as echoes of
the past.

MOGADOR All I Am Is Of My Own MaKing (Crossover Prog, 2010)

Fri, 5 Jun 2026 23:13:21 EST

Review by kev rowland — In a recent MRR newsletter Nick Katona highlighted this album, originally released in 2010, and given I had previously
reviewed their 2017 release, 'Chaptersend', I thought I would give it a try. Although their debut had been released just
the previous year, there had been a line-up change in the departure of guitarist Stefano Lago, but the remaining
members just shared the duties between them and carried on as a trio. Richard George Allen (drums, assorted
percussion, vocals), Luca Briccola (guitars, keyboards, flute, orchestration, backing vocals) and Paolo Pigni (bass,
acoustic guitars, vocals) here deliver a concept album inspired by a true story suggested by Richard. It follows a
businessman trapped in a New York lift over a weekend and takes us through multiple emotions, from claustrophobic
panic to the exhilaration of a new beginning.

Mogador are a band who I feel never truly gained the recognition they deserved, possibly because they are an Italian
progressive band who followed much more of a crossover style than the somewhat heavier and more robust RPI, and
they certainly have a good home in MRR in that their music is heavily influenced by the lighter and more American
influences with AOR melding with pop melodies and classic progressive layering and styles. This is an album which
certainly benefits from repeated listenings as the more it is played the more one hears, from tubular bells and
underlying acoustic guitars to complex bass runs and classic keyboard sounds as they cross genres making music
which is both immediate and enjoyable, complex yet somehow simplistic and easy to understand at the same time.
Sadly, the highly influential Pigni left after this album, turning instead to his solo project Sarastro Blake who released
their solo album in 2013, and there have been just two more Mogador releases since then, although the band do
appear to have been gigging until a few years ago.

That is a real shame as this is a thoroughly enjoyable album which anyone who likes crossover prog should definitely
seek out.

JORDSJ� Pestkr�nikene (Symphonic Prog, 2026)

Fri, 5 Jun 2026 22:35:39 EST

Review by kev rowland — I was scrolling though my FB feed recently (it is an awful habit, I know) and came across a band saying they had just
been given access to the promo of their new album, and would anyone be interested in reviewing it? As far as I was
aware, I knew nothing about them so said I would go for it and was soon listening to a real throwback in time,
something which reminded me just why I keeping doing this writing lark after so many years. It came as quite a shock
to realise I had actually reviewed these guys previously, when I said nice things about their 2019 release 'Nattfolien',
but having heard this one I am now determined to keep more on track with what they are doing as this is nothing
short of incredible.

The line-up is still H]]>��form of Jon Henriksen from Black Magic, Kristian Valbo from Obliteration/Aura Noir, and Andreas Prestmo and Lars
Fredrik Fr]]>�This is an album out of time, something which belongs in a time 50 years ago when I was a teenager reading Tolkein
and listening to the wide breadth of progressive rock. This is classic progressive rock as a genre as opposed to a
direction, bringing in elements of Gentle Giant (in particular), Deep Purple, Atomic Rooster, Rush, Genesis, Camel and
more. It has a warm analogue feeling as opposed to digital, and the world disappears when listening to this as they
move between acoustic and heavy, with influences from Steve Howe and Yes never too far away.

As I said before, one could easily imagine this album is all about Oftung given he provides everything apart from
drums, but it is Fr]]>�being very reminiscent of the likes of Bruford and Peart. This does not feel like an album from 2026 but instead is a
lost masterpiece from 50 years ago. I am glad it is not too long as this keeps it short and sweet, just like the albums
were back then, when they happily sat on one side of a TDK D90. This is classic symphonic progressive rock with
elements of hard rock and folk, all brought into a 1970's pot and stirred with love. It is the type of album which makes
the listener fall in love with the genre all over again.

SONIC MANTRA Synaesthesia (Eclectic Prog, 2026)

Fri, 5 Jun 2026 18:01:49 EST

Review by Alana — It seems only appropriate that I should put forth my own review of this album, after having witnessed its
creation from a thought into a record.

I will not pretend to understand the musicality in any technical way. I am a simple punter in that regard.
This level of mastery is a lifetime of heartache channeled into something far more beautiful than I would
have ever imagined would be born from pain.
Preconceived ideas can be harmful in that way I suppose. I always thought sadness begets sad songs and
pain drives an angry soundtrack but this album moves me through my own emotions in a way I didn't
expect at all.

It begins in a place of scarcity and uncertainty that feels really familiar to me. The first track 'Always' is such
a catchy one, though it manages to dip into instrumental sections the radio would hesitate to touch, before
dancing back to a chorus you can sing along to, and I do.

It's upbeat and memorable, and leads well into the second track, 'Sexy Ceiling Magic'.

This one starts with a few seconds of silence before bursting into a funky groove that makes me want to
dance. The vocals from Benny Grant are phenomenal, especially when you realise he's playing that virtuosic
guitar at the same time. My favourite line is "I can't feel my feet. They're running, right?"
I feel that in my soul. That numbness that freezes you and you just hope you are in motion nonetheless.
Surreal.

The song sounds funky, and though I can't pull it apart technically, I can tell there is some magic going on
that's tricking my ear into hearing simplicity over complex composition.

'Stone Cold Turkey' comes in hard, right when you're ready for it. The guitar virtuosity shines right away and
you're thinking "here we go". The vocals are powerful and yet effortlessly move with a dynamic range that's
impressive and emotionally gripping. I remember hearing this song instrumentally at first and wondering
how one would even sing over it with the depth of the musicality, but there it is.
It's my second favourite track on the album after 'Sexy Ceiling Magic', mainly because I just love singing
those title lyrics over and over through the absolute jam of an ending.

Mike Mangini knocked this one out of the park, I say that like he didn't do that on all the tracks he worked
on but this one, I thought this one really sounded like he's having so much fun! I love his charisma shining
through, the personality he poured into it and how he manages to play so much without crowding the song
at all. I have no idea how he does it, to me it sounds impossible for one man to play, and yet, I have no
doubt as everyone I speak to about this record tells me Mike makes the impossible possible. I'll take their
word for it, they're usually drummers who remember Mike for his incredible skill level.

'I Am The Man' - there's a section at 3:25, I was told it's "polymeter" which meant absolutely nothing to me
at the time and even though I've educated myself since, I still can't fully wrap my head around it when I
hear it. The song has tricks beyond my comprehension which I love, it feels like magic to be thinking "how
did they do that??"
My favourite part of this has one to be the build up to the line "Under the sun, I am the one". I think this is
the song Mike was comparing to a lava lamp and I get that. It's viscous and yet fluid.

The next track, 'Sucker' is such a stark reminder of our humanity. "Scroll, scroll, scroll ? I'm just getting
started, waging war with myself".
Oh boy, what a mirror. An unflattering one at that, and yet there I am singing along again. What can I say? I
am a sucker indeed.

The closing track 'Head In The Clouds' is this hard hitting anthem you just want to belt out despite your
uncanny ability to sound like a cat that's being thrown into a bath by an enthusiastic toddler.

The chorus is one of those ones you just can't help it, you scream it out as loud as you can and it helps. You
get out all your frustrations and you feel heard and seen and when the song ends, you feel better!

Mike did this one in a single take, I remember Benny wanting no changes, zero, which almost NEVER
happens.

This album is phenomenal in my completely biased opinion. The guitar work is undeniably insane, the
composition is fascinating and there's something for everyone in there whether you can fully appreciate
the techniques deployed or you're like myself and just love how it makes you feel. Howie Weinberg
amplified the Solfeggio frequencies 174Hz, 285Hz, 396Hz, 417Hz, 528Hz, 639Hz, 741Hz, 852Hz, 963Hz, and
the Schumann Resonance frequency 7.83Hz during the mastering process. Personally I feel a real sense of
resolution as the final drum hits roll out, maybe that's the frequencies, maybe that's the journey coming to
an end. I know it's a cliche but this album really is a journey. It guides me through my own experiences and
sends me out the other side a different person, a better person who has a firmer grip on what it is to exist
comfortably in one's skin. There is a sense of acceptance as the final track closes, then you want to press
play again and take it from the top.

This is what SYNAESTHESIA is to me, and I would encourage anyone to sit down and listen to this album
because it will change you and I truly mean that.

WIGWAM Tombstone Valentine (Jazz Rock/Fusion, 1970)

Fri, 5 Jun 2026 17:05:53 EST

Review by Fercandio46 — Being the same quartet that would later make two masterpieces of 70s European fusion, and now with the presence
of Jukka Tolonen, Tombstone Valentine, their second album surprises as a misstep, a transitional album let's say, in
which there are nevertheless interesting discoveries, such as the homonymous theme, which with the accordion of
Kalevi Nyqvist and the organ achieved a certain dreamlike atmosphere that they would later enhance.

In Gratitude! is a blues song still influenced by Steve Wingwood. Frederick & Bill is good in a loose, psychedelic style,
with Pekka Pohjola demonstrating his skill on bass and violin... but still without that Finnish recipe, since the lack of
focus and a common thread is what makes this second album fall apart. Wishful Thinker and Autograph share a
country style almost reminiscent of Bob Dylan.

1936 Lost in the Snow is an instrumental jazz ballad with a certain mysterious air that saves it...because then Let the
World Ramble On returns to pop.

As on the previous album, they felt most comfortable and sounded best in jazz, before discovering the alchemy
present on later albums. For America is pure jazz with Jukka Tolonen on guitar, Jukka Gustavson on piano, Pekka
Pohjola on bass, and of course Ronnie ]]>�
Captain Supernatural, like End, already contains at times that atonal keyboard that goes beyond the margin, that deep
sung note...that shadow that clouds the sun like an eclipse and that would bring the fairies.

GEOFF PROUDLEY Notes from Anne Boleyn (Crossover Prog, 2026)

Fri, 5 Jun 2026 17:05:16 EST

Review by tszirmay —
Three astute reasons why the Prog Rogue has committed to this artist's music to sit among his favourites, a
freedom of choice that music can surely always provide. Firstly, Geoff is an accomplished musician, mastering a
massive library of sounds on his electronic gear, including many organic instruments as well and composing
flawlessly intricate specimens of medieval-tinged music. Secondly, he is evidently an avid historian as well, another
personal liberty that one can learn from the past in order to better understand the future. His stunning previous
opus, the magnificent "K of A" (Katherine of Aragon) was dutifully reviewed and honored with the entire starry
spectrum at my disposal. Last but not least , I have been an openly critical of the relative disuse of an instrument
that , in my humblest of opinions deserves a much better fate, not just in progressive rock but in all forms of music
in general. I have named The Harpsichord. This masterful opus has plenty enough to satiate my very dry wishing
well, and, just for that alone , I am ecstatic. The twenty-three tracks presented here feel like pages from a long-lost
notebook, perhaps even recently discovered in some secret library , comments from the hand of the hapless Anne
Boleyn, she of Rick Wakeman fame and Henry VII shame. Reading like a diary of her ordeal, personal moments of
her trials and tribulations, her innermost thoughts on her own failings as well as the conspiratorial nature of the
Tudor court, all translated into instrumental music of the very highest order.

As such, an in-depth track-by-track descriptive would be a completely foolhardy exercise in tedious complication, as
this kind of work requires the classic concentrated effort of sitting comfortably with headphones on, reading the
copious notes as if a history book and letting go of the outside world entirely. From the onset of the exquisite
opener "From Blickling to Hever" and arriving 42 minutes later to the fateful "I am Come Hither to Die", the listener
is duty-bound to let the mind wander through the various scenes, most of them well within the 1-2 minutes in
length, literally expressing my favourite definition of prog "Music for the imaginary movie in your own mind". The
imagination of the artist begets the thoughts of the individual audience member. Is there any finer form of
relationship ?

That glorious crispness offered by the baroque harpsichord resonates on a multitude of attractive and densely
melodic oddments ("We Three Boleyn, la Petite Boulain, My Lord Percy, An Injured Heart, Masque Dance, Patience
Will Be My Song, A New Order, and Still I Will Prevail) , each gem played with passion, flair and heartfelt
commitment. Organ and synthesized flute also appear regularly, so as to keep the flow of inspiration in a state of
palpitating reverence, often embedded with orchestration.

The ornate piano does take the spotlight on delicate pieces like "Learning Grounds", "The Lady Anne (Henry's
Obsession)" and "Elizabeth" (many seem to forget that Elizabeth I was surely one the of the greatest monarchs in
history and the daughter of Anne Boleyn), both melodies crushingly haunting as well as utterly memorable. Yet, the
piano on the two final pieces , the achingly harrowing "All This for Such a Little Neck " and the previously mentioned
finale verges on genius and easily on par with the golden caped Yes legend.

There are also intense moments of emotion , such as on the glittering melancholia of "We Shall Have Sons" where
Proudley gets to express his arrangement savvy on orchestrating grandiose effects. The galloping horses' effect on
"Riding Out to Hever" has all the instincts of a fox on the run (Anne being the poor animal) with harrowing choir
work to add some ominous doom to the chase. "Procession" feels like a scene from "Robin Hood", pageantry on full
sonic display, church organ blaring. On "Traitor's Gate", the orchestral foundation skillfully demonstrates the ordeal
of travelling to her fate, the tragic and deadly barge navigation to the Tower where Anne Boleyn will ultimately lose
her head. The crow has the last word.

Needless to say, fans of exquisite music need to search this one out, though all there of Geoff's albums are required
ownership and eternal enjoyment. Coming in a masterful 52-page book , this is not just your usual modern stream
download but an outright collector's item, whether historian or prog fan (I am lucky to be both) where either
can find equal amounts of divinely inspired pleasure. Very proud of you, Geoff, your music really touches my soul !
Music like this only comes around a few times in life, it needs to be enjoyed while you can.

5 twists of fate

EMBRYO Embryo's Rache (Jazz Rock/Fusion, 1971)

Fri, 5 Jun 2026 17:05:01 EST

Review by Fercandio46 — Taking out the flute, which unmistakably evokes Jethro Tull, Tausendf]]>�album, showcases a very funky clavinet, then the organ solo...and a strong percussion that is omnipresent; it's a
quartet...with a guest sextet, and it shows in their sound!

Time continues this free and bohemian rock, featuring flute and blurring the boundaries of psychedelia, jazz rock, and
krautrock. When the organ replaces the flute, it becomes a completely different band, with a bassist possessing a
great groove reminiscent of Glenn Cornick. In Eva's Nuvola, the second part of the track, Edgar Hofmann's saxophone
recalls his bandmates in Eilif, and the percussion connects him to the earth like a root carrying moisture to its mother
plant.

Revenge maintains a funky feel with the keyboards at the forefront, reminiscent of Les McCann, but then the
composition takes on more epic and progressive nuances with the saxophone, before returning to jazz with the organ.
When a mellotron joins the saxophone section, the album's potential becomes clear.

Spain Yes, Franco Finished, with its mellotron and saxophone, creates a very intimate jazz atmosphere, reminiscent of
the soundtrack to Leandro "Gato" Barbieri's Last Tango in Paris, who himself was influenced by John Coltrane.
Next, the flute and clavinet build a slightly flamenco melody, imbued with funk, and that percussion, as fundamental
as it was for Santana's band in the Woodstock era, but here with his own personal contribution. The vocal part was
somewhat weak, as in several German bands, but the emphasis was on the instrumental aspect, and in fact that
compositional freedom went well with a less noticeable presence of the vocalist, leaving the starring role to the
instruments and the composition.

An African feel goes hand in hand with Sittin' At The Moon, foreshadowing the band's ethnic future, and which proves
very fitting in fusion with the funk that runs throughout the album. Verwandlung... half progressive, half krautrock,
with the keyboard traversing scales until finally forming, together with the mellotron, a melody where the saxophone
and an improvised piano contribute jazzy energy, but from this strange atmosphere not unlike King Crimson or Soft
Machine, and when Edgar Hofmann's violin joins in, it acquires progressive touches, always arising from improvisation
and continuing to resonate in later albums like an echo with eternal returns.

PINK FLOYD The Dark Side of the Moon (Psychedelic/Space Rock, 1973)

Fri, 5 Jun 2026 09:21:39 EST

Review by Progressive Opera — You enter the listening of a composer using a roller coaster and finds a masterpiece's immersive
opera stage where iridescent prisms of lights compose harmonious melodies around profound voices
dancing along flying objects meanwhile the most prosaic daily philosophical questions present
themselves in a psychoanalytical myriad of chapters with their silent questions and answers that
may just be a critical monologue on psychiatry theories and asylum methods.

1. Speak To Me: Since when did you feel you could go crazy? Are you feeling alone? Who is
controlling your life's roller coaster? How does music help you?

2. Breathe: How proper breathing can generate self-perception, empathy, care ethics, and
affectionate relations in your life? What makes you afraid to care? Are you afraid someone may leave
you? What gives you hope you will achieve your life's missions?

3. On The Run: Did you know this is the first electronic loop music ever made? How to help to end
slavery to wage? Where do you have your moment of pause these days? How can you organize yourself to
get out of town to get in contact to something new as soon as possible?

4. Time: How are you managing your schedules? Why so? How are you relating to your own neighborhood?
How are you engaging your community to help one another? Are you tuned to the seasons and the solar
lunar biorhythms? If you'd die now would you feel that you said and done everything you should?

4. Breathe Reprise: How have you been taking care of your home? Is it clean and neat? How do you
organize your objects and files? Do you love the place where you are? How can you improve it or
where would you go if not? What is your local history?

5. The Great Gig in the Sky: Are you in peace with death? Are you ready to take care of those who
lost someone? Ever heard of thanatology? Where do you think we go after life?

6. Money: Are your finances in ethical banks? Are you developing your community social solidarity
economy? Did you ever realized that bankers are some of the people that do more charity out there?
How to help people without losing your welfare today? How much are you wasting on drugs and alcohol
who make people fight for nothing?

7. Us and Them: Who is us and who is them in your life? Who would you like to change categories?
What do you think of our current civil and military geopolitical situation? What are your measures
of up and down life? Have you ever heard of the corpora controlled vocabularies that the poster
bearer speaks about? Did you go through military service? How can people be more polite? What
objects can you donate away today to feel more free and help others? How to improve your transit
logistics?

8. Any Color You Like: How do you interpret the quote "Any color you like as long as it is black."
by the inventor of automobiles in relation to the use of funk in this music? Why does this album's
opera halt its assembly line in such a dramatic disco pause? If it played in a disco would you
dance?

9. Brain Damage: Are you in need of help to escape any drug? How can we help people in mental
suffering so they may coexist with us better? Do you know how to contact free local and online harm
reduction institutions? Which media do you follow and what are their effects on you and those around
you? Have you been trying to change people to be who you want them to be, how, and why? How do you
want to change yourself, what you cannot change, and why? After this self-analysis do you think you
need psychiatric assistance or asylum internment? Why don't you also study astronomy in free online
courses to prepare for a Moon journey?

10. Eclipse: Have you tried organize yourself writing lists of all things you love and must care
for, all entertainment you really need and their reasons, all things you must return to their
owners, all habits you must change, all your incomes and investments accountancy balance sheet, all
your creative inventions portfolio, everyone you must ask for forgiveness, and everyone you must
write to? What do you need to do it all right now before the next eclipse?

SIMON STEENSLAND Explosion of Bad Music (RIO/Avant-Prog, 2026)

Fri, 5 Jun 2026 08:17:00 EST

Review by Predicators — Simon Steensland's Explosion of Bad Music is a stunning achievement within modern avant-prog, transforming
familiar ingredients into something utterly unique. Built around just two expansive 27-minute compositions,
the album unfolds like a feverish suite in which the volcanic pulse of zeuhl, the somber architecture of
chamber rock and contemporary classical music, and the bittersweet sensibility of Nordic folk converge into an
entirely new musical language.

Its extraordinary timbral richness is one of the album's greatest strengths. Bass clarinets, vocals, reeds, mallet
percussion, accordion, distorted textures, and acoustic instruments continually recombine into unexpected
colors and configurations. Nothing sounds ornamental; every timbre contributes to deepening the album's
strange and captivating emotional universe.

The individual ingredients may not be new, but the final synthesis is entirely distinctive. Many artists have
explored similar territory, yet few have fused these elements with such imagination, sonic originality, and
compositional audacity.

SIMON PHILLIPS Protocol 6 (Jazz Rock/Fusion, 2026)

Fri, 5 Jun 2026 03:38:00 EST

Review by Wisdom Moon — Simon Phillips' 'Protocol' outings never disappoint. He always employs the cream of the crop virtuosos to flesh out his musical vision. This time round, he has:

Ernest Tibbs / bass
Otmaro Ruiz / piano, keyboards
Alex Sill / guitar
Phillip Whack / alto saxophone

Almost the same line up as Protocol 5, just with a different saxophonist. The album kicks off with 'Andromeda', full of brooding angular riffs, a powerful opener. 'Unstable Grounds' that follows is all funk and fusion, with Ernest Tibbs' slap bass setting the scene - such a grooving tune with delightful twists and turns and unpredictable drum patterns from Simon in the middle section. 'Intrepid Traveller' starts of with low piano bass, cross stick from Simon and muted clean chords from Alex. Phillips stretches out in a screeching solo over funky chord stabs provided by Otmaro, heading into the main memorable riff - and so it goes on.

If you have enjoyed the previous incarnations of Protocol, then you are sure to enjoy this one too. It's fusion music at its finest

TERAMAZE The Silent Architect (Progressive Metal, 2026)

Fri, 5 Jun 2026 03:23:57 EST

Review by Southern Star — I am not a prog metal fan by nature but this band has enough contrast that they reel me in.
My first taste was the amazing An Ordinary Dream from a decade ago, still my vote as the greatest Aussie prog
track ever.
Clearly driven by the energetic guitar of Dean Wells and the outstanding Nathan Peachey who I could listen to
whatever he sings. (It must be added that Dean is also an outstanding vocalist).
The Invisible Countdown and Enemy in the Gatden are highlights for me, with Nathan sounding a lot like
Tommy Shaw.
A few fillers on the album; but thats always a chance when a band is as prolific as these guys are.

SIMON STEENSLAND Explosion of Bad Music (RIO/Avant-Prog, 2026)

Fri, 5 Jun 2026 02:18:28 EST

Review by ProgfanJP — Swedish multi-instrumentalist Simon Steensland has spent his career channeling the heavy, pitch-black chamber rock of
Univers Zero, Present and Art Zoyd into dense one-man overdub recordings, and his 2026 album is no exception. A
veteran of both AltrOck and Transubstans Records, he now lands on Spain's aMARXE label, one of the most reliable
sources for quality Canterbury and avant-rock releases on the planet, for what marks his first release under their banner.

The album serves as the closing chapter of a trilogy that began with A Farewell to Brain (2015) and continued with Let's
Go to Hell (2021), and it commits fully to the large-scale ambition that defined its predecessor. The record contains just
two tracks, the paired long-form pieces "Not Dragon" and "Dragon", and between them they cover everything Steensland
does best.

Beyond his own guitars, bass, keyboards and cello, the album draws on a formidable supporting cast including longtime
collaborators Morgan ]]>�and Elaine di Falco on vocals, plus a sizable contingent of wind and string players. Abstract passages that drift into dark
ambient territory sit alongside moments of crushing heaviness and real dynamic sweep, making this the most chaotic
and expansive record in his discography.

A fittingly monumental close to the trilogy, and for me personally, the best progressive release of 2026 so far. I'll admit
I'm not exactly objective here since I've been a fan for years, but I don't think that makes it any less true.

TOM PENAGUIN Tom Penaguin II (Canterbury Scene, 2026)

Fri, 5 Jun 2026 02:15:36 EST

Review by ProgfanJP — French multi-instrumentalist Tom Penaguin has made no secret of his deep admiration for the Canterbury rock scene
that flourished in the 1960s and 70s, and his vintage jazz-rock sound, rooted directly in the tradition of Egg and National
Health, has been making waves among Canterbury and progressive rock fans worldwide. Now his long-awaited follow-up,
II, arrives in 2026.

Like its predecessor, the album was built entirely as a one-man overdub recording, pieced together over roughly four
months in his home studio with an enviable arsenal of vintage gear including a Fender Rhodes Mark II, Hohner Pianet C
and Hammond L122. The result is the same composition-driven, carefully constructed jazz-rock that defined his debut,
carrying forward both the sound and the spirit of the 70s Canterbury scene in full.

The signatures are all there: the Dave Stewart-influenced organ and electric piano, the warm, full-bodied bass tone, and
guitar playing with real confidence and conviction. The centrepiece of the album is "The Ornamental Hermit Suite", a
four-part suite that stands comfortably alongside classic Canterbury recordings like "Mumps", showcasing a remarkable
range of timbres and a level of harmonic sophistication that makes it essential listening on its own terms.

A record built with genuine love for the music and the craft to back it up.

PAT METHENY Side-Eye |||+ (Jazz Rock/Fusion, 2026)

Fri, 5 Jun 2026 02:14:02 EST

Review by ProgfanJP — The long-awaited second installment of Pat Metheny's Side-Eye project, which sees the world-renowned guitarist once
again inviting a fresh cast of rising young artists into his orbit. The core trio of Metheny with keyboardist Chris Fishman
and drummer Joe Dyson anchors the record, joined by Darryl Johns on bass, Brandee Younger on harp, Luis Conte on
percussion and others, for a set of 8 completely original compositions.

Pat Metheny has always been one of those artists who never disappoints, and this record is no exception. There's a
warmth and ease to the whole thing that makes it genuinely enjoyable from start to finish, the kind of album you put on
and just let run.

LE TOUR DE FORCE Le Tour De Force (Eclectic Prog, 2025)

Fri, 5 Jun 2026 02:08:29 EST

Review by ProgfanJP — Formed in 2023 around guitarist Fernando de la Figuera, who cites King Crimson and Robert Fripp as his primary
influences, the band came together when drummer Fran Gazol and bassist Mart]]>�album arrives in 2025 through Spanish label Astronomy Recording Music, released on CD.

The band's sound takes King Crimson's 1980s-2000s era as its foundation and channels it into math rock territory
reminiscent of Polyphia and Animals as Leaders. Central to it all is de la Figuera's technically commanding guitar work,
with high-speed arpeggios and cross-picking that carry the direct stamp of Robert Fripp, while a muscular bass and
explosively dynamic drumming respond in kind. The balance between advanced technique and precisely composed,
note-perfect arrangements is pulled off with a naturalness that's hard to fake.

The rhythmic structures are complex throughout, but the album leans into four-beat grooves often enough that the
bright, major-key melodies get room to breathe, pushing the overall feel closer to the punch of emo and melodic
hardcore than to King Crimson's heavier, more aggressive side.

Standout moments include "Radical", which the band themselves call their calling card, built on ostinato guitar figures
reminiscent of "Fracture" and restless rhythmic shifts that generate a peculiar sense of weightlessness. "Planet 503"
heads in a more symphonic direction, with synth pedal textures and lyrical melodies that lift the whole thing into proper
progressive rock territory.

More than just homage, this is an ambitious debut that announces a genuinely distinctive voice in the genre.

VERSAILLES Le Tr�sor de Valliesres (Symphonic Prog, 1994)

Thu, 4 Jun 2026 18:05:33 EST

Review by Fercandio46 — Excesses...in arrangements, in length, nothing was enough for the successor to Don Giovanni, and Le Tr'sor de
Valliesres, Versailles' third album, boasts the colors of many macarons mimicking a rainbow. Guillaume de la Piliere
sings and plays guitar as if it were the most furious rock, but with Alain de Lille on piano and keyboards, creating
that palatial symphonic atmosphere...which, being French, always has a guillotine lurking about...half threat, half
hope, depending on your perspective. The cabaret piano perfectly complements the streetwise edge, giving
freshness to the complex arrangements and making them immediate, coexisting with Renaissance-like sections
where the band becomes precise and brings together the land of Charles Aznavour and Johnny Hallyday with Rush
and Genesis.

Exquise Betise continues to create grandiose atmospheres like Genesis, but with a prominence in the execution of
the drums, bass, and keyboards that leaves no time to trace influences... instead, it immerses you in the offered
proposition, full of subtleties and pure symphonic rock with a French touch. Une Saint Barthelemy Devote has that
folkloric tenor present in Foxtrot, along with the musicality of Michel Berger, and bass lines by Olivier de Gency
without which it wouldn't be the same. Alain de Lille's keyboards are reminiscent of the early, raw Tony Banks of
Nursery Cryme.

And the next section becomes both rock and psychedelic, with synthesizers and a chorus in which everyone
participates. They speed up...and stop speeding up...only to do it again, discovering new sounds in the process. In
the middle there are parts that recall Pink Floyd's Echoes, but then their virtuoso execution takes them to other
territories, the guitar here with a David Gilmour sound at the service of the infidelities in carved walls, secret
passageways, and organs that hide surprises like Magma-style choirs, while a jazzy piano improvises...breaking
schemes, challenging the monarchy with the sharpest anarchy.

In Viendra L'heure the electric guitar together with the keyboard carve an ornate canvas on which they will sing,
with Guillaume as soloist, reaching the enveloping psychedelia of The Doors, until a wind unites the theme to the
next, the flamenco Jadis, where the spirit of Steve Hackett floats alongside Manuel de Falla.
Degenerescence Obsessionnelle takes over with counterpoints of bass and guitar...bathed by the keyboard like the
sea bathes the beach, and yes...Hackett is heard again, along with a harpsichord, until a keyboard section like a
choir with bass and mellotron that recalls Yes, recreates the atmosphere of Heart of the Sunrise, only until
Guillaume sings and the melody, half longing for the past, half promise of the future, continues on. At times Olivier
de Gency sounds like Chris Squire without sounding like an imitation, and there are moments where they take flight
and sound like themselves, a product of the place that saw them born and gave them their imprint; there we see
the Galeries Lafayette, as well as the Banlieues de La Goutte d'Or.

That street-style Hammond organ rock from the beginning returns in Avec Tous Mes Hommages, full of harmony in
the keyboard and guitar notes...playing classic hard rock solos, until the whole band sounds like the best Yes in
blue, blanc et rouge.

Le Tresor des Valliesres ends as the album began, with an explosion of colors suggested by the keyboard and guitar
notes, a cathedral under whose wide roof whispers burrow, as well as stretched notes...until dissonant guitar and
bass notes, as if King Crimson were forcibly taking the farewell, and the atonality throws off balance...paradoxically,
to increase the level reached, it confirms with each note that freedom, which makes us live in equality, and only in
this way will fraternity arrive.

DERIVA Eclepsys (Progressive Metal, 2012)

Thu, 4 Jun 2026 08:09:32 EST

Review by siLLy puPPy — My gawsh, there are three bands named DERIVA in Spain! One was a Basque rock band formed in 2001
from Donostia-San Sebasti]]>�then finally the subject of this review, an all-instrumental mostly solo project of guitarist /
bassist / drum programmer Javier Hern]]>��various bands including Sol Negro and Pangea before finally setting some of his pent up ideas free
on this project with guitarist Carlos Rubio along for the ride. Rubio played in some of the same
bands in the future. This DERIVA project has so far only released a single album titled ECLEPSYS
which came out in 2012 and showcases these two seasoned musicians cranking out 16 tracks of
instrumental prog metal.

Pretty much an album out of the Joe Satriani type of guitar savvy hard rock and progressive metal
instrumental playbook, this album finds the two guitarists delivering melodic riffs and solos along
with only a bass and programmed drums but despite the lack of players involved here actually comes
off pretty dynamically delivered with a series of strong tracks that navigate various techniques,
exotic mood settings and rhythmic formats. A few touches of keyboards offer the occasional
atmospheric presence but for the most part this is a brawling dudes only jamfest where two guitars
duke it out while keeping their eyes on the melodic prize. The duo play together seamlessly and most
surprisingly the drums actually sound fairly real. The production is also top notch which adds to
the squeaky clean feel of the album.

The opening "Estrella del este" sets a strong tone with a mystique of the Middle East finding
thrashing stomping power chords with ethnic flavors reminding me a bit of the Australian band BaK
only sans the vocal charm. "Life Groove" jumps into more progressive territory while "Babel" offers
a bit of alt metal flavor. A few ballads enter the scene with tracks like "Es Por Ti" offering
slower clean guitar sounds mixed with crunchy leads which in this case reminds me of some of those
ho hum Pikes from Buckethead that never seem to end. While the duo never runs out of steam as far as
their playing abilities are concerned, the album does suffer from too much of a good thing without
any true break from the same formula strewn out in different melodic motifs. More stylistic shifts
and tone changes would've gone a long way towards making this lengthy release less monotonous by the
time the end nears. "Moonster" is a nice change with echoey twangy guitar tones and escapes the
metal vibe altogether.

Overall this is one of those fairly competent examples of a musicians stockpile of ideas coming to
fruition in one chock-filled display of opportunities finally realized. All in all it's a
captivating album that delivers on all fronts and for what it is, it's really a great album however
there isn't really anything new under the sun as albums like this were being cranked out as far back
as the 1980s so there has been no shortage of similar minded guitarists releasing such examples ever
since. These two dudes do a great job with the limited resources they are presenting and given that
it's basically two guitars, a bass and drum program it's well done however it's not one of those
albums that will make you feel like breaking the bank to run out and get. For one thing i keep
wishing the two would break into more daring metal diversity but that never really happens. By the
time the album ends it sounds like a retread of everything that came before which is more likely
than not given no vocalist on board to distract from what sounds more like background music to lyric
oriented songs. Good but not great.

DRIFT LAB Sunlight (Jazz Rock/Fusion, 2026)

Thu, 4 Jun 2026 03:22:40 EST

Review by andrea — "Sunlight" is the second album by Drift Lab, a jazz rock project based in Rome and led by Manuele Montesanti. It
was self-released in 2026 with a completely renewed line-up featuring, along with founder member, composer and
leader Manuele Montesanti (piano, synths), the new members Marco Pistone (bass), Guido Della Gatta (guitars)
and Roberto Porta (drums) plus the guest Carlo Maria Micheli (sax). According to the official website, this is music
"written with rigour but performed with freedom, where improvisation finds its home within intricate harmonic
architectures". Drift Lab is an open, constantly evolving project, aiming to shape a sound that blends "jazz roots
and contemporary imagery, instrumental virtuosity and electronic curiosity, composition and experimentation".
The art cover tries to give a visual form to the musical content...

Electronic sounds and a brief drum roll introduce the album's title track, "Sunlight". It's a bright piece, full of
frenetic energy, ready to wake us up to face a new busy day. A kind of urban ride illuminated by the sunlight...

The following "Yellow Fire" is a piece with a jagged rhythm but full of warmth and melodic flares that leads to
"Bump" a jazz rock track full of nocturnal and disquieting atmospheres with excellent interweaving of guitar and
keyboard that share the solo parts, supported by a never banal rhythm section...

"A-M-M-I-M" somehow revisits and reinterprets a piece from the previous album ("M-I-M-M-A"). It's a relaxed track
that at times invites you to dance the night away while "Serendip" is a slow, sensual piece featuring guest
saxophonist Carlo Maria Micheli and a certain oriental exoticism. The title refers to the ancient name of the island
of Ceylon...

"Chaste Countrywoman" starts with the bass in the foreground that traces a funky rhythm, then the electric guitar
outlines melodic paths that take the song in other directions... Next comes "Bleep" is a complex and fast piece
where all the musicians showcase great technical skills and a notable interaction.

"bYpOLAR" begins with an old video-game atmosphere and continues with irrepressible freshness, alternating
more relaxed moments with others where the pace becomes pressing and lively. Ten, the dreamy "Evolving"
concludes the album. A beautiful official video was shot for this piece, completing the sonic universe the band has
evoked with images of a disturbingly beautiful dystopian future...

On the whole, an excellent fusion work!

FRANCK CARDUCCI Sheeple (Crossover Prog, 2026)

Thu, 4 Jun 2026 01:31:44 EST

Review by alainPP — Franck Carducci, playing music based on the progressive foundations of Pink Floyd and Genesis, moved to
Amsterdam to play and survive. Theatrical prog rock, heavy rock reminiscent of Genesis and Led Zeppelin.

"Sheeple," with its bleating and swirling organ, evokes Pink Floyd and Deep Purple, forcing us to revisit the genre.
"Self-Righteousness" boasts a raw, 70s sound, reminiscent of Whitesnake's old-school, fruity hard rock, with the
dripping organ of this band playing good old-school, uncensored music. Barth unleashes a heavy, bulldozing solo.
"Sweet Cassandra," the first of three tracks, features a narrative French-Anglican voice, while the harmonica,
reminiscent of Supertramp, provides a soothing ballad. A nostalgic, sentimental tune that resonates. "The Betrayal
of Blue," already heard on the 2023 live album. A Beatles-esque crescendo with an explosive verse, C]]>�organ, Lea's furious pads, and Barth daring to play a solo reminiscent of bygone days?this young upstart is very
good, navigating between two unique musical facets. The alternation of early heavy prog, with Mary's melting
theremin break before the martial reprise, pads worthy of Genesis and Deep Purple. The exhilarating final
crescendo flirts with the Wallian era, modern and old overlapping with the little dancer in her bottle?a touch of
nostalgia. "Sweet Cassandra," a reprise with its Gabriel-esque flute, its marshmallow melody, a charismatic bucolic
atmosphere.

"The Limits of Freedom," a chilling Genesis-like intro, a popular hard rock variation. A fresh, melodic interplay, a no-
nonsense nod to a time before prog metal existed. Franck's other, more powerful rock side plays out its two
distinct styles with his mischievous sidekick, featuring a frenetic guitar solo and a frenetic piano finale reminiscent
of certain American bands. "Love or Survive" has a Supertramp-esque flavor, with its charming melody, piano, and
subtly woven female backing vocals. It builds to a gradual crescendo, culminating in a seemingly endless bluesy
guitar solo that evokes the emotion of yesteryear. The basic break, with its raw vocals and piano, transforms into
an old-fashioned melody. The thunderous organ kicks in, providing a Beatles-esque chorus to conclude this
crescendo, a musical comedy of guitar and organ intertwined. "Sweet Cassandra" returns to the bar scene named
after Cassandra, ending with a syrupy vocal, creating suspense before launching into "Do What You're Told,"
bringing the band back to its acoustic melody worthy of Oldfield. Franck is hardly inventing anything new in
revisiting our classics. A prominent bass, a southern feel, piano bar rock to free us from societal constraints and
finally do what we want before the end of time.

JORDSJ� Pestkr�nikene (Symphonic Prog, 2026)

Thu, 4 Jun 2026 00:45:33 EST

Review by FrancescoProg — I'll say it right away to avoid misunderstandings: Prog is back!! And it comes once again from the North.

The album is part of Jordsj]]>�recorded in the studio between 2020 and 2025, the project then took on a life of its own, with the pieces intertwining
thematically exploring themes such as war, chaos, the fall of rulers and the dawn of a new period, as well as cults and
sects.

The album was created, arranged and mixed entirely by the two founding members:
H]]>�psychedelic and progressive underground scene in Oslo. He has collaborated over time with cult bands such as
Tusm]]>�Kristian Fr]]>��project. In addition to taking care of the acoustic rhythm section, he personally took care of the production and mixing
of Pestkr]]>�
Prominent artists have been invited to contribute significantly to specific tracks.
Jon A. Henriksen, multi-instrumentalist and singer, lends his voice to the songs "White Magic" and "Talisman II". He is
the creator of Black Magic, a Norwegian band that started as a heavy/doom/black metal project and then veered
towards 70s hard rock sounds. He collaborated with H]]>�Kristian Valbo, well-known extreme metal drummer of the historic Norwegian bands Obliteration and Aura Noir, takes
care of the drums, rototoms and artwork of the song "Spiritual Lament". For this album he demonstrated his
crossover versatility by playing percussion and doing the cover art.
Lars Fredrik Fr]]>�performs a MiniMoog synthesizer solo on the track "Kaosveldets Endelikt". He is a great fan and collector of vintage
keyboards (Mellotron, Hammond, Moog), with which he recreates atmospheres faithful to the early 70s.
Andreas Prestmo, lead singer and lyricist of The Wobbler, as well as frontman of The Chronicles of Father Robin, is the
guest vocalist on the song "The Awakened". He is famous in the Scandinavian scene for his evocative and theatrical
vocal lines, ideal for the mythological lyrics of Jordsj]]>�
The title "Pestkr]]>�album: a dark and mythological concept album that revolves around destruction, distorted faith and the rebirth that
follows. The songs on the album are connected by a coherent theme and lyrics, based on four fundamental elements:
war and destruction, the collapse of old social structures; the fall of kings, the brutal end of kingdoms, monarchs and
empires; sects and cults, religious and spiritual fanaticism in times of crisis; It is the dawn of a new era, the birth of a
new period from the ruins of devastation.

In this apocalyptic context, the band blends its hard rock and heavy metal roots with folk and psychedelic elements,
creating a real "sound alchemy" to tell the eternal cycle of death and rebirth.
The album alternates sung songs with entirely instrumental compositions, in perfect Scandinavian progressive rock
style. The vocal tracks are "Pestkr]]>�Lament" and "Talisman II" (all in English). Instead, "Kaosvelde" and "Kaosveldets Endelikt" are completely
instrumental.
I particularly appreciate the use of the Norwegian language in their songs since always, which makes them archaic,
solemn, mystical and profound. On this album, the English-language songs are no different, they manage to evoke
the same feeling thanks to the splendid interpretations.

This album was made with an artisanal and vintage approach, far from modern and digital productions. The sound is
rich and warm, created with iconic analog keyboards such as the MiniMoog and the Mellotron that weaves orchestral
sound carpets. The Hammond organ and piano, then, drive the main melodies with timeless class. The hard rock
energy is perfectly balanced by dreamy and acoustic sections, creating an immersive and dynamic atmosphere.

The flute, played by H]]>�greats of progressive rock. Despite the complex structures and the continuous changes of tempo, the structured
suites and the symphonic atmospheres typical of northern European prog (inspired by Scandinavian bands such as
Landberk, ]]>��real concentrate of energy and creativity.

"Pestkr]]>�hard rock sound. Powerful guitar riffs alternate with soothing flute sections, creating an atmosphere that oscillates
between tension and relaxation. The song explores the theme of cyclical time, with the "plague" representing the
social and moral collapse that is repeated every time humanity forgets history and breaks the balance. H]]>�deftly juggles sharp guitars and a dreamlike flute, while Kristian Fr]]>�analogue warmth. The main riff, inspired by classic hard/prog, is simply splendid.

"White Magic", a song sung in English, is one of the catchiest songs on the album, its hypnotic and decidedly
psychedelic rhythm, combined with folk influences, creates an atmospheric rock that immediately enters the head
while maintaining a complex structure. The song describes the dynamics of psychological manipulation within cults,
with the "White Magic Man" seducing the minds of his fifty followers with utopian promises that work like a drug
("poppy seeds"). Jon A. Henriksen, with his theatrical and charismatic voice, perfectly interprets the ambiguity of the
cult leader. The song has an extremely engaging chorus. The countermelodies are beautiful and the mood is both
positive and expresses an atmosphere of urgency. When the song slows down there is a great guitar solo with
exceptional sustain. Great song.

"Seven Heads", a song sung in English, enhances the darker and heavier side of the band, touching primitive doom
rock but resulting in sudden symphonic melodic moments dominated by the Mellotron. The apocalyptic symbolism is
evident: the "Seven Heads" refer to the biblical Beast and symbolize the destructive arrogance of declining political
and religious power. Oftung's work on vintage keyboards (Hammond organ and Mellotron) creates a majestic wall of
sound that emphasizes the sense of impending catastrophe. The backbone groove of the excellent rhythm section is
composed of multiple inlays and chisellings. The alternation of flute and guitar when the atmosphere becomes tense
is splendid. The central tempo change, which transports the piece into a spooky atmosphere is absolutely great. Great
vocal interpretation at the end of the song, when he returns to the hard rhythm, of an extraordinary rock. Textbook
closure. Beautiful piece.

"Kaosvelde - Vasallens Elegi" is the first fully instrumental track on the album, a jewel of progressive folk, with acoustic
guitars and flute that intertwine in an elegant way, evoking a woody and melancholic atmosphere reminiscent of the
Scandinavian tradition of the early 70s. It is the lament of a vassal who helplessly witnesses the chaos that invades his
kingdom, marking the end of the old feudal order. Oftung's acoustic performance is impeccable, and Fr]]>�minimal and evocative percussion marks an almost solemn tempo, in a slow and continuous credendo that briefly
seems to accelerate but then returns imposing and solemn. The central flute solo is poignant and dreamlike, and
adds a touch of melancholy to the narrative.

"Kaosveldets Endelikt", a completely instrumental track, is the sequel to the previous track to which it is inextricably
fused, but this time in an electric and majestic key. The style shifts towards a more complex symphonic prog and a fast
tempo with Heavy Metal accents, describing the final act of the collapse of the kings. Primordial chaos takes over,
wiping out corrupt hierarchies. Lars Fredrik Fr]]>�synthesizer solo cutting through the track like lightning, an exceptional solo explosion. Great energy and transport not
without clich]]>�metronomic with thrilling rolls. Great piece,

"The Awakened", a song sung in English, is a theatrical, dynamic and dramatic song. The sound combines structural
complexity with airy and solemn vocal melodies typical of Nordic symphonic rock. The focus shifts to the survivors,
forced to walk through the rubble with a new, painful spiritual self-awareness after the catastrophe. The guest voice of
Andreas Prestmo is the fulcrum of the piece; its timbre gives an epic and poignant tone to the narrative. The mood
and voice are very prog, the excellent guitar riff alternates in a game of back and forth with the keyboards. The
intertwining of Prestmo's vocal lines and Mellotron's carpets is splendid, creating an evocative and engaging
atmosphere. Monstrous bass throughout the song, sharp guitar.

"Spiritual Lament", a song sung in English, is a deep and reflective track, with a ritual atmosphere. The tones become
more intense and decidedly rock, abandoning the lightness of folk to embrace a psychedelic sound full of emotions.
The beginning is very King Crimson. It represents an inner journey of grieving and searching for peace, symbolizing the
spiritual emptiness that a person can feel when his old material certainties are lost. Kristian Valbo on drums
introduces the rototoms, giving a powerful and tribal rhythm. The song is animated by an amazing bass line with
which the guitar dialogues wonderfully. Rich and powerful battery. The splendid voice of a beautiful vocal enters about
halfway through the song after a long instrumental section and the song becomes more folk, before resuming the
initial mood that with the voice becomes epic and imposing. Towards the end the atmosphere becomes decidedly
psychedelic and is the basis for a stratospheric guitar solo. The closing was beautiful. Great drums that stand out in
this beautiful piece.

"Talisman II", a song sung in English, is the perfect conclusion to the album. An epic track that mixes hard rock with
the tempo changes typical of symphonic prog, culminating in an emotional finale that leaves a sense of completeness.
The talisman, a magical and symbolic object guardian of knowledge, is essential to overcome difficult times and start a
new era of rebirth. Jon A. Henriksen returns to vocals to support Oftung, closing the conceptual circle of the album.
The final interaction between electric guitar, synthesizers and drums is magnificent, and the final instrumental coda is
liberating and beautifully arranged. There is a folk mood that never disappears. The entries overlap and complement
each other. A song of extraordinary structure and power, powerful even in the most folk phase, it explodes in the epic
phases. The singing and the piece as a whole are extraordinary.

Pestkr]]>�skill and blended together in a brilliant way, a sound experience that blends hard rock and classic heavy metal of the
70s with typical atmospheres of progressive rock, folk and psychedelic, without losing contact with the Scandinavian
tradition. Compared to Jordsj]]>�decisive sound, a real tribute to the heaviest hard rock scene of those years. The voices and performances of the
individual musicians are splendid, a screaming rhythm section.

Essential album, so far the best of 2026. Prog is back!!

MALIBRAN Le Porte Del Silenzio (Rock Progressivo Italiano, 1993)

Wed, 3 Jun 2026 20:30:45 EST

Review by The Progolyte — Not counting the various archival releases I've covered before, Malibran's sophomore album, Le Porte Del
Silenzio, will be the first review I publish of an album recorded and released in the nineties. When it comes
to Rock Progressivo Italiano overall, I haven't quite touched this era of the genre as I should have. Beyond
these guys I really only know Nuova Era and D.F.A., so I still have some exploring to do here. Moving on, I
would say this is a really strong retro Italian prog record, utilizing predominantly instrumental passages to
exercise a very powerful and melodic style of progressive rock. One thing I wish was changed were some of
the English lyrics, which sort of breaks the overall flow, as Italian ones would've fit the music better. Beyond
that, this album is still very consistent and full of interesting symphonic prog with tons of neat little details
and material to dig your teeth into, all within the grips of a very captivating album cover that seems to
recall greatly to the work of Roger Dean with his art for Yes, specifically the cover of Relayer.

The music here is very strong, fusing both keyboard and rhythm-driven progressive rock with thoroughly
put-together neo-prog. It stays steady musically, not really losing my interest and always making for a fun
experience. At some points it feels like the band can meander in this format for a while and just blend
everything in together, which can feel a little too straightforward, but overall, there is some really nice
material on here. The majority of the songs are ten minutes or under, with my favorites of these being the
opening Livin' Alone and the driving Libero, which each seem to have more energy put into them and have
the most satisfying moments in terms of technicality. That would be the case if it weren't for the monstrous
ending to the album, the twenty-seven-minute-long title track, which is easily my favorite piece on the
record. It's very emotionally charged but not sacrificing pure energy and chaos, where on most of the songs
it seems to be fused together, this one keeps the sections more separate, distinct, and memorable.

In conclusion, I would say this is a very fine example of retro Rock Progressivo Italiano and does a nice take
on the classic sound while still sounding modern. Maybe not an essential as a whole, but seriously
underrated in terms of exposure and definitely worth checking out if you want to get into more recent
Italian prog. I'll be rewarding this one a strong 4/5.

THE CLAYPOOL LENNON DELIRIUM The Great Parrot-Ox and The Golden Egg of Empathy (Eclectic Prog, 2026)

Wed, 3 Jun 2026 16:56:48 EST

Review by Fercandio46 — Behind the title paraphernalia of The Great Parrot-Ox and The Golden Egg of Empathy, the third studio album from
The Claypool Lennon Delirium project lies a conceptual work that carefully addresses the oversimplification of
human life by a certain use of Artificial Intelligence, which would result in a simplification of the universe in the form
of clips. Metaphors aside, the album finds them more intertwined than ever... Lennon's psychedelia combined with
Claypool's funk rock, meeting once again in a story that reveals them as more progressive than ever.

It encloses all the acid of Gong's synthesizers in a 60s psychedelic pop and then you get WAP (What a Predicament),
like a firefly trapped in a glass jar...Les' bass is taken to another context, even more so with the mellotron in the
background, or the choirs, and it is there where this union is most successful from a compositional point of view,
because from an instrumental point of view their interaction was also proven.

There are sitars on The Wake Up Call, and the spacey spirit is identified as the project's DNA. Lennon's keyboards
are more prominent than on previous releases, adding another layer of depth to the desired direction. Meat
Machines begins with a chorus followed by a guitar reminiscent of Genesis, while the bass sounds different, no
longer like Primus, but with a different color that subtly contributes to the overall sound, without lacking
personality. There are classic Moog solos, followed by the guitar in a very Bach-like ending.

Troll Bait, on the other hand, advances with powerful bass and organ hits like 70s Hawkwind, with an almost
operatic spoken-word vocal part carried out by Les Claypool, a strong percussion progresses while the theme
becomes darker...and suddenly a very clean guitar solo emerges above the surface, this is definitely a different
album.

Simplest of Deeds deepens the psychedelic journey...as we delve into Heart of Chrome, where electronica
contributes to this dreamy atmosphere in what is revealed as the heart of this conceptual work, reminiscent of both
Eloy in the past and the Australians King Gizzard & The Lizard Wizard. Through the Horizon follows and is my
favorite track on the album, where the synthesizers and bass kick in, with Les singing almost lyrically, while the
Zeppelin-esque drums advance slowly, without haste...and the bass at the service of the symphonic keyboard...until
it decides to hurry and those classic choirs rise along with it, while the guitar stops accompanying and does a solo
until Mantra of the Manatee takes us back to that London of the 60s carried by the guitar and bass at the same
time, between chorus and chorus with luminous keyboard, until it turns funky.

The Golden Egg of Empathy features a prominent bass with a mellotron in the background, sounding like Stanley
Clarke!, plus the prophetic choir driving the story forward, creating a very strange atmosphere...until Cliptopia takes
up this dark psychedelia again, this time more rock-oriented, with Parliament-Funkadelic-style choirs, disguising
itself as "Bootsy" Collins for the occasion.

Once again, percussion, bass, keyboards, and electronic elements create a festively strange atmosphere in Cliptron
Scuttle, before Melody of Entropy begins to close the curtain with that twilight aura of Pink Floyd, led vocally by
Sean Lennon and creating epic atmospheres until the grand finale of It's a Wrap, a psychedelic-pop suite where at
times they recall Stereolab, the first part with Sean, and the second with Les, in an album that sounds challenging,
modern, and with the best of the classicism of the past, all with a homogeneity that makes it their best work to
date, one where two become one.

TESSERACT One (Progressive Metal, 2011)

Wed, 3 Jun 2026 13:18:57 EST

Review by A Crimson Mellotron — There is something truly special about TesseracT's debut studio album 'One', released in 2011
through Century Media Records, who had signed them just a year earlier. An almost decade-long
development anticipates the release of this excellent studio album, as the band itself had started
out in 2003, with guitarists Acle Kahney and James Monteith experimenting with technical guitar work
and posting various clips online that would gain them sufficient popularity. The current lineup of
the band would take shape around 2009, which is very likely the moment in which the album 'One' had
been conceived as well. Predated by the EP 'Concealing Fate', which contains a six-part 27-minute-
long suite (which appears in full on the album), 'One' impresses with an imminent, subtle, and
groovy sound that becomes unmistakable after some listening. Developing the so-called djent sound,
the Meshuggah inspiration is not as obvious here as it is in bands like Periphery or Vildhjarta.

The sound of TesseracT is zealously technical and rhythmically intense, but there is also an
inherent accessibility to their music, which comes from the melodic vocal delivery of frontman
Daniel Tompkins. He does a fantastic job on 'One' and I can definitely see why this album had been
in the making for almost a decade - it is incredibly well-done, subtle and intense, explosively
harsh when you least expect it to be, and pensive and melancholic when the guitar sounds become too
overwhelming. The balance between technical playing, pure songwriting and accessibility makes this
record not only an impressive debut from the Milton Keynes-based band, but also a signature release
for the djent movement, at least in my view. A good example of songs that balance out the ambient-
inspired sections with the dense and heavy prog playthroughs, are the opening track 'Lament', which
sets a beautifully epic tone to the record, and the shorter song 'April'. At the same time, tracks
like 'Nascent' and 'Eden' impress with a dark, futuristic, and relentless sound that captures some
of the band's most sophisticated arrangements and transitions, while the six-part epic 'Concealing
Fate' is just brilliant and probably deserves a dedicated review of its own.

No matter how familiar you are with the djent movement or with TesseracT's catalogue, their 2011
debut album 'One' will surely blow your heads off with striking complexity and immaculate control,
depicting an important step in the development of modern progressive metal.

TOHPATI BERTIGA Riot (Jazz Rock/Fusion, 2012)

Wed, 3 Jun 2026 08:46:04 EST

Review by Aussie-Byrd-Brother — A firecracker of an instrumental album, `Riot' is the 2012 debut (and sole release to date) from young Indonesian
band Tohpati Bertiga. Formed around guitarist Tohpati Ario Hutomo, bassist Indro Hardjodikor - both previously
involved with eclectic instrumentalists SimakDialog - and drummer Adityo Wibowo, the exceptionally talented trio
deliver fiery and energetic prog/jazz rock with elements of funk, fusion and ethnic flavours.

Recording the album live in the studio with only minimal touch-ups means the group capture a real spontaneity
and urgency, and they infect their constantly up-tempo pieces with a true liveliness, even a touch of playfulness.
The ten tracks on offer are all tightly written, nimble arrangements, but also frequently hold passages for the band
to improvise and jam, usually in the way of mangled, molten-fuelled guitar soloing, rapid-fire bass salvos and
thrashing drum spasms.

Opener `Unload' instantly blasts with precision riffing and a stuttering metallic heaviness, the tiniest traces of King
Crimson's `Red' creeping in. `Middle East' hypnotises with its twisting turns, the improv-heavy `Pay Attention's sly
funk and immersive jazz soundscapes beg you to do just that (you try ignoring the insane bass soloing in it!), and
`Rock Camp' free-wheels with boogie and bluesy struts before a twitchy mental breakdown.

`Lost in Space' cools things down for an introspective and mysterious chill-out, `Bertiga' reminds of the genre-
blending cheerful eclecticism and playfulness of Seventies group Kraan. `Robot Disco' melts quirky electronics into
spastic metal attacks, and the bouncy and jubilant `I Feel Fine' turns out to be the biggest ear-worm of the lot of
them, sure to have your foot tapping in no time!

While all the compositions showcase the expressive, fluid and dynamic skills of the trio, `Riot' never comes across
as mere show-off displays or inane noodling, and it's as far from deadly-serious, stuffy jazz-fusion as possible. The
album is carried by the fire, passion and excitement that only youth can bring, and it even holds a strong
melodicism that makes it approachable for listeners who may not usually have the patience for an all-instrumental
disc.

Hopefully the band didn't burn themselves out completely with this effort and deliver a follow-up in the future!

Four stars.