Reviews (all) - Progarchives.com

KAYAK See See the Sun (Crossover Prog, 1973)

Mon, 11 May 2026 11:00:12 EST

Review by siLLy puPPy — One of the Netherlands' longest running progressive art rock bands was KAYAK which formed in 1972 in
the city of Hilversum and along with Electric Light Orchestra, Sparks, Roxy Music, Supertramp and
The Moody Blues sort of prognosticated the crossover prog prospects once the genre ran its course
with an increasing display of pompous complexity. The band initially existed from 1972-82 and then
found a second run from 1999-2025. This debut SEE, SEE THE SUN came out in 1973 and is known as the
band's most progressive album as KAYAK would slowly drift off into what's called AOR radio hit
friendly territory similar to what Styx, The Alan Parsons Project and other acts that found their
heyday in the late 70s and early 80s.

Founded by Ton Scherpenzeel (keyboards), Pim Koopman (drums), Max Werner (vocals), Jean Michel
Marion (bass guitar), and Johan Slager (guitar), the band was a continuation of Scherpenzeel and
Koopman's high school band, High Tide Formation. While not quite reaching the height of their
career, SEE SEE THE SUN was marginally successful in the band's homeland with nine strong pop
infused tracks that demonstrated a diverse array of songwriting styles that ranged from the more
rowdy rockers like "Reason For All" and "Mouldy Wood" to the more ethereal prog ballad "Lovely
Luna," the lengthiest track on board at over eight minutes. One of the interesting trivia points
about the album is that the song "Mammoth" featured a barrel organ that was so large it wouldn't fit
through the studio entrance and had to be recorded outside!

The earliest KAYAK albums featured Max Werner on lead vocalist although he also served as drummer
and keyboardist but his vocal style is fairly unique as the band seemed to amalgamate the best
aspects of 60s pop rock and merge them with some of the tones and textures of the more symphonic and
psychedelic branches of prog as the album is rich in pianos, synthesizers and features heavy
atmospheres. At least for this early album though the guitars play a more prominent part and the
band's sound hadn't quite evolved into the slick pop that they would become known for therefore this
album is a bit of an anomaly in the band's canon similar to ELO's debut release which came out a
couple years prior. The band not only mastered the wily time signature workouts of a seasoned prog
band but delivered some of the most addictive melodic hooks on par with similar minded bands like
Supertramp only sounding completely unique.

The band members were also masters of vocal harmonies and if you ask me were the primary inspiration
for the Alan Parsons Project which took the textures and psychedelic sounds of Pink Floyd's "Dark
Side Of The Moon" and used KAYAK as the template upon which to apply them. While the band featured
only five members, several guests on this release also added the extra sounds of violins, cello and
the barrel organ on "Mammoth." SEE SEE THE SUN is a powerhouse of progressive pop of the era and one
of the best IMHO. Every track on here is a gem and it's divine how each track morphs into a
completely new playbook of how to infuse art rock with instantly warm and fuzzy pop hooks. While
many AOR bands can craft a few catchy hooks and stuff the rest of the album with filler, no such
problem with KAYAK's debut. Not a band i've spent much time exploring but after this savory
introduction i'm hooked.

EARTH AND FIRE Earth and Fire (Symphonic Prog, 1970)

Mon, 11 May 2026 10:59:56 EST

Review by siLLy puPPy — One of the Netherlands' most successful progressive bands of the 70s was the Den Haag based EARTH
AND FIRE started by the twin brothers Chris and Gerald Koerts. Although formed in 1968, the band
experienced continental success with the addition of lead singer Jerney Kaagman in 1969 with the
release of the band's first single "Seasons." While much more pop oriented than many 70s prog bands
such as Focus or Supersister, EARTH AND FIRE adopted the guitar heft of Jimi Hendrix, the pop hooks
of Jefferson Airplane and married it with the more adventurous techniques of the nascent prog scene
although at the early stage in 1970 when the band released its debut released it would definitely be
considered prog lite by the standards of other albums of the era.

With the opening "Wild And Exciting" it's immediately clear that EARTH AND FIRE was the prog version
of the fellow Den Haag sensation Shocking Blue which had been cranking out some of the biggest
European hits since 1968 and even scored a Billboard #1 in early 1970 with "Venus" although released
in the summer of 69. This opening track finds the band skirting dangerously close to clone territory
with Kaagman almost perfectly emulating the vocal style of Mariska Veres and if that wasn't enough
the band pretty much follows the same musical groove with staccato guitar and pulsating bass
grooves. In fact this opener sounds as if it should have been part of the Shocking Blue lexicon
sounding something akin to the band's hit "Long And Lonesome Road." True they were both part of the
same Nederbeat scene but too close for comfort.

As the album continues EARTH AND FIRE sounded more late 60s than 70s at this point and the songs are
all more in the pop camp than prog only with a few added psychedelic twists and turns to technically
qualify. The band wouldn't truly launch a more progressive approach until the sophomore release
"Song of The Marching Children." The album features touches of hard rock once again reminding me of
Shocking Blues songs like "Shocking You" with the same general style although EARTH AND FIRE didn't
only rely on Kaagman for complete vocal dominance and rather often engaged in group vocal harmonies
as well as one of the guys taking up lead for various moments especially on the band's first single
"Seasons" which is perhaps the safest track with catchy hooks and a pulsating groove however it
proved to be utterly irresistible and launched the band into the 70s with a series of chart hits.

The most interesting track for my tastes is the grooviliscious "21st Century Land" which features
the fastest tempo and an thumping bass groove laced with sizzling organ swirls and and interesting
tale of coming to America as the promised land in the century yet to come. Overall it's a very
pleasing psychedelic rock album with a few proggy accoutrements thrown in for good measure but
unfortunately during the album's run it's impossible for me to shake the Shocking Blue vibe even
though the band's diverse array of songwriting styles does sound more unique at times than others
however if you are a huge Shocking Blue fan as i am you may have to check the lineup notes upon
first listen to see if Mariska Veres was moonlighting with EARTH AND FIRE while not with her more
famous band but alas they were two completely different women with pretty much the same vocal style
and sound eerily similar. For those who are less familiar with Shocking Blue than i am this will
inevitably be a more enjoyable album but it's quite clear that this band was emulating the
Shocksters and not the other way around.

3.5 rounded down

STARCASTLE Starcastle (Symphonic Prog, 1976)

Mon, 11 May 2026 06:19:58 EST

Review by BrufordFreak — A band that I stumbled upon as soon as they appeared on the music scene for the song, "Lady of the Lake" that was
receiving a lot of air time on our local progressive-rock-favoring AM radio station but also for the wonderful art work
on its debut album cover. I then had the opportunity to see the band live in concert while promoting their second
album, Fountains of Light. There presence on the concert bill as the warm-up band for Todd Rundgren's Utopia was
considered a bonus--and they more than impressed in their stage performance for their musicianship and how well-
crafted their songs played out in front of me. Their stage-craft (theatricity), however, was, unfortunately, quite
underwhelming.

As to the content of this, their debut album, the shining star is the much-maligned Yes-interchangeable opening song,
the afore-mentioned "Lady of the Lake." A pristine, perfectly designed song of proggy "epic" length that stands up to
any peak-era Yes song with remarkable eminence. The rest of the album, however, despite countless listens over the
years, has never achieved the same level of connection or respect with me. The band is populated with very able-
bodied musicians who all perform at high levels of competency, even at quite high skill levels, but there is something
lacking in the compositions to elevate them to the same heights as "Lady." Part of me thinks it was the over-
commitment to Yes imitation; part of me thinks it is due to something lacking in the sound engineering that dulled the
"pop" that the other songs could have had. Now, in the 21st Century, with the assistance of Yes-like WOBBLER to
compare Starcastle with, I can say that it may in fact be the clone-like closeness to Yes that is its weakness. At least
with Rush they took the Yes sounds and made it their own--took it into new directions, new dimensions. Starcastle
never seems to do that: they seem satisfied, even focused to replicate Yes in every single way possible, making little or
no attempts create new and/or original non-Yes-sounding music (except maybe the occasional tone chosen by one of
their lead guitarists), otherwise it feels as if we're just being inundated with more Yes. As a Yes imitation band there
may be no better one that I know of (Ambrosia, Babylon, and Yezda Urfa being the main contemporaries that come to
mind): as Yes imitators, they are extraordinary--the best (until the arrival of Wobbler). As band of supremely talented
musicians striving to create their own identity, I think they did themselves a disservice by sticking so closely to their
revered predecessors. (There are even moments in these songs in which sounds and riffs and even motifs are so
exacting in their replication of Yes that one cannot but marvel.) I sometimes think that the band's rich harmony vocals,
12-string guitar play, and keyboard riffing exceed those of their antecessor! Where they do, however, seem to
consistently fall short is in the lyrical content: they're just not as engaging or mystifyingly alluring as those provided by
Jon Anderson (though, like Wobbler, their delivery can be strikingly like those of Monsieur Anderson)--all of which feels
so weird to say since everybody can agree that Jon Anderson's lyrics are at the top of the category of "band with the
weirdest/most impenetrable lyrics." Still, there is nothing bad about the music on Starcastle's debut; we criticize it only
for its same-y sameness. I leave another listening experience much as I do whenever I listen to a Wobbler album:
feeling as if I've just emerged from an imaginative parallel universe linked to the kingdom of Yes; It's not a bad place,
only a little overly familiar and, therefore, slightly unsettling.

Four stars for an album of tremendously-performed remarkably-proficient compositions that seem to come straight
from the Yes-iverse.

CRIPPLED BLACK PHOENIX 200 Tons of Bad Luck (Psychedelic/Space Rock, 2009)

Mon, 11 May 2026 05:13:25 EST

Review by sgtpepper — Compilation of the 2009 studio works, the album continues (and largely ends) the first CBP era with quite
monotonous yet emotional - mainly melancholic - textures. There are two directions - the Pink Floyd increasing
pathway and the decreasing instrumental dark post-rock landscapes well epitomized on their first album.

All arguments about repetitiveness, lack of original approach and not that many ideas/minute are valid. I am biased
here as a large fan of dark instrumental post-rock and moderate instrumental Pink Floyd listener, I found here
enough to please my feelings yet not get distracted when doing an intellectual activity.

The highlights to me are Floyd-inspired "Burnt Reynolds" with some more dynamics in the second half, the 18-
minute long epic balancing between dreamy post-rock and psychedelia (perhaps the closest attempt at a GYBE!
music), the heavy "444" and the peaceful "I am free, today I perished").

GREEN DESERT TREE Fighting Dragons (Neo-Prog, 2026)

Mon, 11 May 2026 00:25:34 EST

Review by Rysiek P. — In fact, the need to add a category to my personal list summarizing a year, or any other period in music, had
been brewing within me for some time, and it only needed the proverbial trigger to surface and verbalize. Typically,
songs in this category are treated somewhat neglected, either as an introduction, a brief preview of what we can
expect next, or a moment to "tune in" to the actual sounds that will follow. Meanwhile, the opening tracks of many
albums, often titled vaguely: overture or intro, are sometimes small works of arrangement and composition in
themselves. Despite their brevity, they encourage, captivate, command focus, or even compel us to pay full
attention to the musical material that begins. That trigger was a track with the all-too-familiar title - "Overture" from
the latest, second album by the Berlin-based band Green Desert Tree, released on April 24th of this year, titled
"Fighting Dragons."
Because, despite the title, this isn't just an introduction to the album, not just a preview of what we can expect
later. It's a standalone and highly engaging track that, for nearly six minutes, creates an intricate, almost symphonic
suite filled with progressive volte-faces and magnificent instrumental displays. Electronics at the beginning,
powerful keyboards immediately after, slightly acrobatic transitions that heighten the interest, a pervasive melody,
and, as if that weren't enough, a nearly minute-long guitar solo. This musical melting pot brims with beautiful
melody and intricate arrangement.
The footsteps of someone departing, the sound of a horse's hooves, a barrel organ, bardish vocals, and a pub
piano are the beginning of "The Storyteller," which, after this unexpected and somehow incongruous opening,
transforms into a hard-hitting rock composition. Halfway through, there's no room for a lyrical tale reminiscent of
old ballads; a decidedly rock note sweetened by light piano interludes emerges. Only one sentence springs to mind:
it works and it works... it appeals to all the senses.
The third track on the album begins unexpectedly. "Talk To Me" flows like a morning breeze cooling a face
gazing at the sun. It's a wonderful feeling, invigorating and filling every moment lost in the abyss of joy with
incredible peace, with every sound penetrating the deepest recesses of the soul. And then, to top it all off, there's
the wonderful transition from a very light arrangement to melodically symphonic sounds reminiscent of Yes and
ELP, around the six-minute mark. Yes... this track is truly delightful, and the ending resonates long after the last
note fades away.
The longest, title track, "Fighting Dragons," is an almost mini-baroque suite with a magnificent harpsichord
sound. It's a showcase for the band, taking the listener on a journey through a whole range of stylistic associations.
From the aforementioned baroque harpsichord, through keyboard passages and guitar chords. There's no
shortage of synthesizer solos, dense guitar chords in the background, improvisations, and cosmic instrumental
interludes. If you can hear space, this is the perfect example. If you can whisper a scream, this is the proof. If you
can blend soul, funk, and rock, it's in this track. And that's probably why the eleven minutes fly by.
The fifth track from the album was released as the first and, so far, only single. "High School Reunion" - for
that's its title - captivates with its opening guitar solo and delicate vocals. However, its defining characteristic is its
skillful blend of atmospherics with a funky groove, mainstream pop with rock pop, Beach Boys with Fish on Friday -
a break through the album's already irreconcilable stylistic predispositions.
As if anyone was still missing the uniqueness of this album, the band finishes with "The Broken Crown," which
opens with a country-tinged string section. Of course, there are the familiar additions: rock-like accuracy, resonant
synthesizers, ELP-style organ performances thrown into a folk-American melting pot, excellent vocals, and a
somewhat symphonic flourish. And whether we like it or not, we're simply frozen in place for the entire seven
minutes, wondering what we might hear next.
Responsible for this blend of extraordinary and unusual sounds are Sascha Giebel (vocals, guitars, keyboards),
Simon Rainer (guitars), Tim Sund (keyboards, vocals), Francesco Beccaro (bass), and Yatziv Caspi (drums). "Fighting
Dragons" is their second album, and I hope it won't be their last, as it brings a great deal of freshness and melodic
intensity to the sometimes somewhat stagnant and homogenous structure of songs from the broadly defined
progressive rock genre. It's a refreshing breath of unconventional blending of sounds from seemingly impossible
styles. And what's more, perhaps most importantly, it's a joy to listen to.

FRANCO BATTIATO Pollution (Rock Progressivo Italiano, 1972)

Sun, 10 May 2026 21:15:11 EST

Review by The Progolyte — Pollution is the second full-length studio album by Italian prodigy Franco Battiato, and it is definitely his
more experimental effort between this and his debut album, Fetus. It has a lot more electronic influences
than the mixed genres of his last album, Fetus, with the very interesting sound of synthesizers being even
more present and much more influential on here than on Fetus. I personally enjoyed this better than his
last album, and it felt more focused and defined by a more atmospheric energy. I also liked how even
though the songs are still technically short, the ending contains a really interesting suite that lasts for
twelve minutes, and it would be the first time Franco would dabble in writing longer songs. The personnel
on this album are actually confirmed according to ProgArchives, and they include Francesco Battiato
(obviously) on lead vocals and VCS3 synthesizer, Mario Ellepi on guitars and vocals, Ruby Cacciapaglia also
on synths but also doing the piano, Gianni Mocchetti on bass and vocals, and Gianfranco D'Adda on drums.

I was originally drawn to Franco and his work for his strange and unconventional album covers on this and
his first record, with both of them containing meaningful covers to either the music here or the concept.
Moving on, the songs are dominated by a more spacey and focused sound, still lacking that clear line of
what song is either progressive electronic or progressive rock (which makes it even better). The music here
comes close to feeling apocalyptic at points, with the very trippy and hollow backing instrumentation
included by the already uncanny and interesting keyboard arrangements being the definitive part of this
record, making this quite a unique experience and keeping Franco's creativity at a high point. What's crazy
to me is how this isn't even his best album and it's this good! I personally think that the idea of leaving the
pieces a mix of both of the major genres at play here was a wonderful idea, and it truly enhances my view
of this album. Another really cool note to add about the music here is the balance between the more
grounded material and the stuff that is left open and includes very interesting depth. Sometimes it can feel
grand and powerful, while other times it's deeply airy and uncanny.

In conclusion, out of all the Franco Battiato albums I've listened to, Pollution is probably my second favorite.
It has a really cool and atmospheric soundscape combined with definitive progressive electronic and rock,
and it just so happens to fall in Franco's prime era of the seventies. I will award this album a strong 4/5 as
my final rating.

FRANCO BATTIATO Fetus (Rock Progressivo Italiano, 1971)

Sun, 10 May 2026 21:12:37 EST

Review by The Progolyte — While most people know him for his eighties career and his ventures into more pop-oriented and catchy
music, Italian superstar Franco Battiato had very interesting origins. Before becoming one of the most
popular and influential artists to ever come out of Italy, he started off with Fetus, an album primarily
dominated by more experimental electronic music and progressive rock and/or folk. Yes, it is quite strange
and very different from any other Rock Progressivo Italiano artist at the time (and arguably different from
any artist in the Rock Progressivo Italiano scene today), but that's what makes it stand out. It's very unique,
but the music here is also excellent and has some very high points. It may lack some true emotion, but in
its place is some great creativity full of minimalistic yet interesting details that are sprinkled in frequently
across the record. While I normally cover the instrumentation of the album I'm reviewing, on here it's listed
as not having a fully confirmed personnel, just names of who played on the record and rarely who played
what. The personnel is listed on Rate Your Music, but just in case it's wrong, I won't say it because I don't
want to spread misinformation.

The music often switches between both quiet and mellow electronic music and progressive rock with
minimal instrumentation, all while having a trippy and experimental whimsy that doesn't sound like anyone
else. Overall, while this album and its songs are pretty short (the record is only thirty minutes and the eight
songs are all only a few minutes long), Franco still manages to put his musical idea onto this record in full
and showcases his young and talented songwriting skills. My personal favorite piece is the longest track at
six minutes, with the title of Meccanica. It is very dense and has a ton of interesting moments, and
combined with its ever-changing focus and structure, it makes for a really nice piece that was very pleasing
to listen to. Other than that, all the shorter songs have their unique musical elements and quirks to make
them each different, but stylistically, they all blend in together. Some make use of sound collage, some
make use of mellow folk, some have more defined rock music, etc, but they all have this distinct feeling and
tone that Franco carries throughout the whole record.

In conclusion, yes, the music here might be different in a good way, but it lacks deeper emotions, and the
whole album blurs together. And while that second point could be a good thing, I'm always open to artists
exploring something different from the normal sound of the time, I would've liked it if they had more
energy and contained more complex material. This one is a mid 3.5/5.

TIGRAN HAMASYAN Manifeste (Jazz Rock/Fusion, 2026)

Sun, 10 May 2026 11:47:19 EST

Review by JavierMiranda — Tigran Hamasyan continues to occupy a fascinating space between jazz, progressive music and spiritual exploration with
"Manifeste". After the ambitious scope of "The Bird of a Thousand Voices", this new album feels more concentrated and
ritualistic, almost like a carefully structured inner journey.

What stands out immediately is the atmosphere. The album moves fluidly between meditative passages, dense rhythmic
sections and moments of real emotional intensity. Hamasyan's piano work remains extraordinary as always, but what
makes "Manifeste" especially interesting is the way electronics, synthesizers and sound design become fully integrated
into the music rather than simple decoration.

There is also a strong spiritual dimension running throughout the record. Armenian musical traditions continue to shape
Hamasyan's language deeply, but they coexist naturally with modern textures, progressive structures and complex
rhythmic ideas. At times the album feels intimate and reflective, while in other moments it becomes almost
overwhelming in its intensity. Not every section reaches the same emotional level, and occasionally the conceptual
ambition feels slightly stronger than the musical payoff itself, which is why I wouldn't place it among his absolute
masterpieces. Still, even its less immediate moments remain compelling because of the sheer personality and vision
behind the project.

"Manifeste" confirms once again that Tigran Hamasyan is one of the most unique voices working today between jazz,
avant-garde and progressive music. Challenging, spiritual and deeply immersive.

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

Sun, 10 May 2026 11:32:08 EST

Review by JavierMiranda — Juan Belda has always had a very personal way of approaching music, but with "Memories of a Loser" it really feels like
everything comes together in the best possible way. To me, this is easily one of the most interesting albums released this
year, not only within avant-prog or jazz-related music, but progressive music in general.

What I love most about the album is how natural it feels despite how much is happening musically. It moves constantly
between jazz, rock, electronics and experimental composition, yet nothing sounds forced or self-conscious. The music
flows with real confidence. There's complexity here, but it never feels like complexity for its own sake.

Compared to some earlier Bit Band works, this album feels more focused and emotionally direct while still keeping that
exploratory spirit intact. The balance between composed sections and freer passages is fantastic, and the atmosphere
throughout the record is incredibly immersive. Some moments feel intimate and reflective, others strange and
unpredictable, but the album always keeps its identity.

The musicianship is outstanding across the board. Longtime collaborators like Jorge Pardo, Pelayo Arrizabalaga, Enrico
Barbaro, Juanjo Ort]]>�feeling of musicians listening and reacting to each other rather than simply playing arrangements.

Another thing that makes the album special is its personality. A lot of modern progressive or experimental music ends up
sounding overly calculated or trapped in references. "Memories of a Loser" doesn't. Even when certain influences appear,
everything is absorbed completely into Juan Belda's own language. The result is a record that sounds unmistakably like
him. It's also one of those albums that reveals more with each listen. Small details, textures and interactions between
instruments keep appearing over time, making it a very rewarding experience to return to.

For me, this is not only one of the strongest Juan Belda & The Bit Band releases so far, it's one of the standout progressive
and avant releases of 2026. A deeply personal, atmospheric and genuinely unique album.

RAICES Los Habitantes De La Rutina (Jazz Rock/Fusion, 1980)

Sun, 10 May 2026 11:12:20 EST

Review by Fercandio46 — With changes in the drums and keyboards, with the addition of Leo Sujatovich, Ra]]>�deepen the fusion with an even more pronounced bass, which is appreciated, because Weather Report sounds
good with Sujatovich. Y La Historia Contin]]>�on percussion; only Alberto Bengolea's guitar maintained the balance to avoid sounding more ethnic, like Joe
Zawinul's band, with whom this album is a little more related.

Amigo Candomberito further increases that impression of acceleration, that it was Weather Report plus an electric
guitar, with the keyboard and guitar taking turns, plus the incessant and even more varied percussion than on the
first album.

Dawn in Zafia ultimately confirms that the keyboard and bass are the stars; this prominence of the keyboard
foundation could also be appreciated in Santana's late 70s albums, such as Amigos and even Festival, where the
guitar moved freely from jazz to funk.

Esto Es Candombe features Quique Sinesi on guitar and Diego Rappoport on keyboards, completing the union that
would lead Beto Satragni to join Luis Alberto Spinetta's band in 1980 to record Spinetta-Jade's debut album, Alma
de Diamante, which would interrupt the course of Ra]]>�
Para mi abuelo Jacinto is another acoustic step, more earthly, almost strumming the guitar, as if threatening to start
a rock'n'roll without ever doing so, a threat of violence not realized that perhaps makes it more powerful.

Nube Marr]]>�all within a R]]>�synthesizer plays and guides us like a familiar guide. One can find points of contact with Spinetta's work, as three of
his future collaborators are featured here, and he always gave them space to develop.

Tijeras Latinas, guided by the keyboard, takes us along that fine line where fusion meets symphonic elements, but
with a fast bass line like Jaco Pastorius's, plus funk and vocals that have long since ceased to be purely Brazilian, as
well as percussion that has become Uruguayan, creating a modern sound almost like disco fusion.

Beto Satragni, after playing with Spinetta, in his eternal search for new paths, would join forces with Oscar Moro,
drummer of Seru Giran, for a joint project, and Ra]]>�they are, and they survive underground and continue their development even without any witnesses.

RAICES B.O.V. Dombe (Jazz Rock/Fusion, 1978)

Sun, 10 May 2026 11:10:20 EST

Review by Fercandio46 — With the background of the Candombe fusion of Opa, the Fattoruso brothers' band, plus the other end of the Funk
of Totem, the band of Rub]]>��middle of the Rio de la Plata...between Uruguay and Argentina, between Jazz Rock, Candombe and Funk.

One of the keys to this debut was the successful interplay between the voices of bassist Beto Satragni and
percussionist Jimmy Santos. Alberto Bengolea's guitar moves from funk to jazz in "Esto es Candombe," before
shifting to another facet in "B.O.V. Dombe," stretching both the vocals and the instruments further, a horizontal
composition, after a vertical beginning, if you will. Because roots grow in all directions, going wherever they find the
necessary nutrients to gain energy.

Hay Un Funky En La Oreja Del Obelisco refers to the Argentine national monument, and how it dresses up in funk
and jazz rock, here with the help of Andr]]>�and you can see and hear Satragni's skill as a bassist, at times sounding like the Jeff Beck most inclined to the fusion
of Blow by Blow.

Ton Coton is an intimate acoustic vignette, with the taste of yerba mate, lush vegetation, warm nights of calm and
crickets' songs...only the magic of an acoustic guitar and percussion...along with the voice in that alchemy also
shared by our brother Brazil of weaving an invisible mantle under which to take shelter.

Belmiro begins with bass and percussion in a nod to Santana, which then turns into Funk, but then the composition
becomes more complex and other rhythms enrich it, with that powerful base thanks to the Moog it crosses jazz
rock with symphonic. Cangas De Narcea follows the path of Jeff Beck's Funk Rock, but with a sound that at times
resembles Return To Forever thanks to the keyboard solos. They already sounded with the fluidity that came from
touring live, and even opening for Ser]]>��
"Destilando Aceite" revisits those echoing vocal harmonies, which suspend time with the help of the staccato
rhythm of the instruments, until the percussion kicks in, accelerated like a heart pounding in the middle of a dance,
a dance with African roots, which simultaneously encounters the sophistication of keyboard arrangements and
jazzy guitars jamming on top while Beto sings with scat, achieving true fusion. Towards the end, there are epic
moments that almost recall La M]]>��on their second and final album, "Pel]]>�
And that's what this album is also about, about the roots that take us even to places we ourselves don't suspect.

MAN Be Good To Yourself At Least Once A Day (Psychedelic/Space Rock, 1972)

Sun, 10 May 2026 11:09:12 EST

Review by Fercandio46 — After the magnificent live concert at Padget Rooms in Penarth, Deke Leonard had temporarily left the band, and it
shows, both in the songwriting and the performance. "C'mon" has the usual rock vibe... but the improvisation doesn't
lead anywhere specific, nor does it create a particular atmosphere. "Keep On Crinting" follows the same path, less wild
or even less strange, with keyboards that sometimes recall Genesis. It's worth noting that Clive John had returned, but
on guitar, with Phil Ryan on keyboards.

One of the band's strengths, the interplay of the two guitars, is still present, but with less of that dramatic tone, that
plunge into the abyss and back again that they had in their best moments.

"Bananas," here in its studio version, would become a new live classic, and although it fits well with the rest of the
band's repertoire, it's not among their most experimental or inspired tracks, perhaps foreshadowing the direction
they would take later, where they no longer sounded so much like krautrock. Ultimately, "Bananas" is the song with
the most interesting development on the album. Terry Williams, the drummer, knew Micky Jones well and knew how
to create atmospheres, which is why the song endured and remained in the band's repertoire.

"Life On The Road" is a blues-rock song with country influences; it's clear that Will Youatt was a bassist more
comfortable in this genre. However, when the guitars enter the instrumental section, the song comes alive, even
picking up the pace. The cover art is quite fitting, as it conveys the feeling of a live performance rather than the
progression of a studio album.

That year, 1972, would go down in history for "Live At The Padget Rooms Penarth", a double album for which "Be
Good To Yourself At Least Once A Day" is a good complement.

MOUNDRAG Deux (Heavy Prog, 2025)

Sun, 10 May 2026 10:53:52 EST

Review by alainPP — Moundrag, Bretons steeped in 70s heavy psych, have been playing without guitars since 2018. They love Deep
Purple, Atomic Rooster (whom they're addicted to), Iron Butterfly, Uriah Heep, and even Black Sabbath. It also
has hints of Yes and ELP, with that devilish virtuosity adored by old-school prog fans.

'Stormdrummer' is a Dantean instrumental track with a drum solo worthy of Mason's psychedelic experiments.
A blistering track reminiscent of the good old days of hard rock live shows. 'The Caveman' is in a Purplino-esque
style; you could imagine John's organ replacing Camille's. Hammond riffs over a juicy 70s rhythm. Deep Purple
without Blackmore, with a vocal bell chorus?they dared to mix things up with this Rainbow-style refrain. The
melting keyboard solo... my hair is growing back, ding dong, I'm regressing. 'Changes' follows the same pattern
with the fusion of the two instruments, a minimalist pad on the basic organ, and warm vocals as a bonus. The
choir further enhances this proto-astral journey; a guitar-free style that would have been ideal. A final keyboard
flourish and bam, the regression takes hold. 'Limbo' is a masterpiece, a progressive construction with its
opening, its build-up, and its overt and hidden reminiscences. Juicy heavy organ, a vocal duo, the extras to
compensate/hide the lack of instruments. The organ alone is enough to distill these atmospheric, vintage, in-
your-face prog dino vibes worthy of King Crimson and Deep Purple. A psychedelic break with Olympian drums,
grandiose, an infernal choir in a pagan rite, drawing the listener into the cinematic dreams of B-movies we used
to watch in the dead of night. Burlesque, unhinged, making you forget the guitars.

'Black Flames' goes further, harder, with that nauseating whiff of Black Sabbath. A hard-hitting rock track with
backing vocals, perfect for practicing your dance moves to the roaring drums and organ. The seductive, mystical
video means the music could have gone on forever. 'Starkus' for ELP is a perfect example of how to evoke
memories with this instrumental from bygone eras, injecting yourself with that vintage sound. 'Take Me To The
Stars' features organ harmonies, a stereo duet of Camille and Colin's vocals like in the good old days, launching
into an easily accessible chorus. 'Morning Epitaph', with its solemn Crimson-esque organ, is the soporific ballad
to lull the baby rocker to sleep. A simple, guitar-less swagger from Caravan, but with the rhythmic melody of the
drums emanating from the gut. The '60s are front and center, a regression all the way to 'Au Del]]>��Love was far stronger than death. A radio edit with a divine organ fade-out at the end. 'Night Lights' closes with
crystalline piano, like a film title sequence. The vocals are calm, Raoul's accordion driving the melancholic, rainy-
day blues. Pure melancholy to listen to in the twilight while dreaming of a better world. St]]>�making it four instruments in total, lends a timeless quality to the album's conclusion.

Moundrag, ELP with a drummer reminiscent of Carl Palmer, King Crimson, Magma, Black Sabbath, and
keyboards ]]>�

THE RED MASQUE Victoria And The Haruspex (RIO/Avant-Prog, 2002)

Sun, 10 May 2026 09:31:58 EST

Review by siLLy puPPy — One of the stranger acts to emerge in the 21st century, THE RED MASQUE was formed in Philadelphia,
PA in 2001 by vocalist Lynette Shelley and Brandon Lord Ross who plays both bass and keyboardists.
Generating a rather ominous blend of styles that find inspirations from classic prog acts such as
King Crimson, Magma and Van der Graaf Generator, THE RED MASQUE sounds like no other and gleans
inspiration from the darker side of the world of avant-prog. Still in existence, this band debuted
in 2002 with VICTORIA AND THE HARUSPEX, a strange album that featured four tracks yet none sounding
really like the same band!

The band is notable for its oddball instrumentation that while including traditional rock sounds
from guitar, bass, drums and keyboards, often the emphasis is on the extra accoutrements added to
the mix including the didgeridoo, concert harp, plastery, chimes or other interesting tidbits.
According to the credits on this debut even a demonic china doll is used for sonic supplementation!
The music is very atmospheric and complex yet but adds various motifs of pure improvisational
otherworldliness.

The album starts off with the rather monotonous 24 1/2 minute "Haruspex" which sounds like the
longest intro i've ever heard! Apparently this one is referring to Magma-esque zeuhl however it
comes off more as a improvisational early post-rock phenomenon most similar to the French band
Wapassou which weaved a similar psychedelic beeline through rather repetitive and cyclical terrain.
The track has its moments with gurgling bass lines and eerie RIO flavored atmospheric textures
reminiscent of Art Zoyd or Univers Zero but the results feel like the band is trying to get to a
composition that never happens thus feeling like the world's longest intro. It's a rather
uninspiring affair that sets the album off on the wrong track.

If you survive the long journey that is the first track which swallows up half the running time, the
second track "Birdbrain" is actually the best song on board. Starting with ethereal female vocals
with gently plucked guitar arpeggios, the track becomes more of a post-punk oddity with a beefy bass
groove and punky guitar riffs only laced with atmospheric touches. It sounds a lot like Siouxsie and
The Banshees actually at least until it breaks into a more proggy motif that finds Shelly's vocalist
emulating the great Annie Haslam from Renaissance! Unlike track one this actually is a great song
with a frosty goth touch and rocks.

The remaining two tracks are less enthralling with "Afterloss" inspired by flamenco guitar that
adopts lyrics from William Shakespeare's "Sonnet 90." Not bad but at nearly nine minutes in length a
bit too bloated for its own good. Even less rewarding is the closing "Cenotaph" which is nothing
more than a solo concert harp performance by Nathan-Andrew Dewin and although it's pleasant enough
totally sounds like a fish out of water in relation to the rest of the album even though harp sounds
can be heard in the musical tapestry elsewhere. Overall this is a rather frustrating album with only
one really great track if you like post-punk. The other three tracks sound more like rough drafts
with no effort to tie them together in any tangible way. What a disappointing debut album! Luckily
the band would improve from here on.

EKSEPTION Ekseption (Eclectic Prog, 1969)

Sun, 10 May 2026 09:31:32 EST

Review by siLLy puPPy — One of the very few progressive bands that actually had its roots dating back to the 1950s, the act
EKSEPTION was one of the Netherlands' most successful progressive act rock acts when it hit the
scene with its self-titled debut and lasted until 1989. With a huge rotating lineup over the
decades, the one member who stuck around throughout the band's 20 year album run was the
conservatory-trained trumpet player Rein van den Brook. The kernel of the band started out as The
Jokers in a high school in 1958 formed initially by Van Den Broek and then transitioned into the
Incrowd before finally cementing its final moniker EKSEPTION in 1967 when the band scored a gig with
The Nice and would shift from pop, jazz and R&B covers to one of the earliest forms of classical
crossover rock.

The band owed its shift into the rockin' the classics arena thanks to keyboardist Rick van der
Linden who was a classically trained keyboardist who saw the potential of what The Nice was cranking
out only unlike The Nice, EKSEPTION stuck around well into the 80s. By 1974 though Van Der Linden
had usurped control over the band's direction and was asked to leave due to the tension that
resulted. As Van Der Linden departed and went on to form Trace, another act influenced by The Nice
and ELP, the rest of the band steered EKSEPTION into more jazzy terrain. As for this self titled
debut though, this is all about rock interpretations of classical music as well as a couple jazz
numbers thrown in. The album opens with perhaps the band's most famous reworking of Beethoven's
"5th" which immediately sets the stage for the album's 10 tracks.

It's an eclectic mix of classical covers ranging from Beethoven, Bach and Saint-Sa]]>�Khachaturian, Manuel de Falla and third stream guru George Gershwin. Other odd picks include jazz
pianist Bobby Timmons' "This Here" and Jethro Tull's "Dharma For One" leaving only the track "Little
X Plus" a self-constructed composition by the band itself. As one would expect just like The Nice,
EKSEPTION's debut is completely instrumental with a lineup of six that includes guitar, saxophones,
piano, organ, dulcimer, flute, bass guitar, trumpet and drums. A few vocals are used for wordless
texturing from time to time. Despite the wide range of influences though, EKSEPTION was, well
exceptional at keeping it all sound unified with their own larger than life style that sounds half
brass rock and half prog. Newer releases with bonus tracks actually do have vocal tracks.

And so started a fruitful career from this point on that featured covers of classics works from the
past and starting with the second album original compositions. As for this first one it's almost
completely covers which is a great introduction to the band's lengthy canon of classical crossover
releases. The album showcases the majesty of interpreting the long traditions of classical music in
a modern rock context and at the end of the 60s this style was all the rage but for modern ears this
sounds a bit dated and cheesy. This album was released at the end of 1969 while bands like King
Crimson, High Tide, The Mothers Of Invention, Colosseum, Soft Machine, East of Eden and Caravan were
releasing game changing progressive rock albums that were innovative and well beyond the mere
interpreting the classical stage. It's a pleasant album that is played by seasoned pros but not
exactly something that really gets under your skin and stands out as any kind of classic, no pun
intended.

3.5 rounded down

SIGILU Beta (Psychedelic/Space Rock, 2025)

Sun, 10 May 2026 08:44:56 EST

Review by Muskrat — Astronomy Recording Music, Javier Miranda's excellent label, has a habit of gracing us with
outstanding discoveries. Whether it's Noha Histeria's Hautefaye, or more recently Esquiso]]>�Cronicas and Ekzilo's latest album, a masterpiece is often on the menu.
And that's certainly the case with Sigilu's album Beta. As one reviewer on this site points out,
"This is a true demonstration of innovative sound engineering, one of a kind! Beta is an album you
absolutely must discover! Spread the word! Sigilu is ready to take you to unprecedented sonic (and
real) dimensions!" However, don't expect a (pointless) display of virtuosity, but rather music that
is quite simple yet profoundly emotive. The sonic manipulation offers an incredible palette of
textures. But above all, silence, this total absence of any music, is used with the utmost artistry.
You suddenly hold your breath, strain to listen, only to be suddenly gripped to the very core of
your being. And the Spanish lyrics add to the strangeness. My only regret is that the lyrics aren't
printed on the cover, as I feel they have an interesting political dimension.
For me, this is the album of the year 2025!

CODE 18 Two Places (Neo-Prog, 2026)

Sun, 10 May 2026 06:41:45 EST

Review by alainPP — CODE 18 offers a new sound, venturing into unprecedented symphonic meanderings with clear reminiscences of
ELP, KING CRIMSON, and GENESIS. This richly textured prog-rock, anchored in dynamic musicality, draws as
much from A.C.T. as from Mr. BUNGLE, NINE INCH NAILS, or VANGELIS.

"Prelude" features an art-rock intro, with Jean-Fran]]>�to see where this band will land with its newfound musical baggage. "Polyrhythm" is a festive and dark prog-rock
track, an untamed, unclassifiable modern progressive sound with an impressive, earth-shattering crescendo. A
bluesy-jazzy drift is evident, with a gospel choir in the background, and the final piano bar is striking. "The Old
House" offers a surprising new element; A sound that takes off with the reverberation of the electronic air
escaping from the ballad. Ben takes over singing as if it were nothing. The chorus is in mainstream 80s rock
mode, from the stadium era, the languid guitar solo is a slow blues melting before its tedious wave, the slow
tempo cinematic. Easy, languorous, progressive and crescendoing, solemn. "Alors je Cherche" begins with a
spacey synth; bam, the keys shift to a brassy sound, bandit landmarks, a Charleston epic, something new. Horns
blare everywhere, reminiscent of 'The Blues Brothers'. The bar piano with the crooner's vocals in jazzy-bluesy
private detective mode; hilarious with the narration in French, far from the neo-prog genre. The sharp guitar
solo accompanies Martin on the pads, tapping everywhere. Johnny's contribution refines the atmosphere,
trumpets and a dark riff, the shadow of the two eccentrics.

"The Lovers, the Incompetent and the Asshole"?acoustic guitar playing its notes over the solemn piano, the
chiseled guitar solo, the beauty of the introduction. Three minutes before the launch of the spacey synth, and
suddenly the melody reminiscent of an Ange track, I'm hooked. A fleeting, soaring symphonic suite, an electro
synth with a well-defined beat, and the frenetic, bubbling keyboard solo, Jean-Fran]]>�mastery of his fingers. The frenetic rhythm in this vast emptiness; three minutes before the subtle
transformation of the synth, deep and stereo, mimicking the arrival of the four aliens from 'The Fifth Element'
with explosive percussion. The grandiose, expressive finale, magnified by bursting keyboard notes.

"Moving in a Peach Nightmare" boasts a keyboard sound worthy of Tangerine Dream, flirting with ambient prog
territory. The hypnotic, addictive sound, a blend of velvety pads and catchy riffs, is electro, a precious
instrumental serving as an intro to "A New Soul," still in ambient synth territory, with syncopated electronic
drums. Four minutes in, and the jazzy-hard drift kicks in, a hint of Rudess, uninhibited Gentle Giant, Haken, and
Ben taking the vocals. A choppy rhythm, a divine-solemn fusion with the instrumental section on Dream Theater,
Deep Purple for the organ part, Marillion for the ethereal keyboard, Johnny letting loose in a very pleasing way.
The finale is a whirlwind, somewhere between prog metal maestro and fan-driven prog metal: the album's
centerpiece. "Justice?" The album opens with a somber saxophone solo, a mournful vocal, a melancholic ballad
reminiscent of the 60s, and an ethereal chorus where I recognize Mystery's influence. JF returns, reminding us of
the guitar's importance, as the track becomes somewhat repetitive. A progressive break unfolds, exploring
melodic, symphonic, and rhythmic variations, driven by Martin's drumming. These keyboards take center stage
again during the orchestral finale, a dynamic sound in the purest progressive tradition, fresh, playful, and lyrical
all at once.

A concept album telling the story of changing worlds with a modern sound of the decade, featuring varied,
unique, and avant-garde touches: a true breath of fresh air.(4.5)

EKZILO Quantum Phase Transition (Psychedelic/Space Rock, 2025)

Sun, 10 May 2026 06:28:35 EST

Review by Muskrat — The recent trend of escalating ratings on ProgArchives led me to give this album 5 stars, but in my
opinion, it really deserves 4. Note that this insidious and undesirable trend is recent. Just look
at the years to see for yourself. The top 100 albums of 2025 are almost all rated 4 stars or higher,
compared to 45 in 2015 and around 30 in 2000. And don't try to tell me that the output of recent
years has improved!

As a result, everyone is incentivized to award 5 stars to boost albums that are actually worthwhile.
When will we see a system where each reviewer is limited to a fixed number of 5- and 4-star ratings
for a given year?

But let's get back to the matter at hand. Quantum Phase Transition is the second album from a
Spanish band called Ekzilo, led by guitarist Jos]]>�showcasing impressive guitar work and a distinctly Hispanic style. The eclectic compositions are
reminiscent of early Mad Fellaz, with the same weaknesses: some tracks could have benefited from
being shorter. The musicians are excellent, and I wish they had stepped out from behind the
accompaniment more often to take center stage. There's also a fair amount of piano (real piano, mind
you) and a magnificent drummer.
The album's highlight is a 19-minute track titled Evolution. A powerful moment where the influence
of Opeth is undeniable. Alternating between violent and melancholic passages, the clean vocals and
perfectly integrated growls create an incredible intensity. Absolutely fabulous! And finally, a
little nod to Iron Maiden. Just saying.
A band whose future releases I'll be keeping an eye on.

AIRBAG The Greatest Show On Earth (Neo-Prog, 2013)

Sun, 10 May 2026 03:58:13 EST

Review by Hector Enrique — With Floydian space rock fused with elements of contemporary progressive rock -Radiohead, Anathema and
Porcupine Tree, amongst others- serving as constant points of reference since their formation in 2009, Airbag stay on
a similar course with "The Greatest Show on Earth" (2013), their third album.

But before diving headlong into the expansive structures typical of their previous work, the Norwegians incorporate
harder textures closer to experimental post-metal, both in the instrumental and linear Part 1 of "Surveillance", with
Bjorn Riis's dense, gritty riffs, as in the psychedelic and intriguing "Redemption", driven by Jorgen Gruner-Hagen's
cosmic electronic effects, Henrik Fossum's restrained drumming and a superb Floyd-esque solo -among the album's
highlights- once again courtesy of Riis.

From there, the album explores the band's most recognisable styles, with Riis showcasing his skill in the unplugged,
atmospheric mid-tempo track "Silence Grows"; in the loose structures of the nostalgic and tranquil "Call Me Back"; and
in the demanding progression of "The Greatest Show on Earth". But without a doubt, the high point comes in the
extended "Surveillance Part 2-3", more emotional and contemplative than the brief opening Part 1: an epic piece that
begins with a long, restrained introduction of pianos and keyboards, slowly building with Asle Tostrup's meditative
vocals until it culminates in an intense guitar solo by Riis, then continues through a hypnotic succession of expansive
ambient layers before fading into an atmospheric final coda.

"The Greatest Show on Earth" is a very fine album that not only pays a respectful tribute to the genre, but also
showcases Airbag's stylistic evolution and instrumental prowess.

4 stars

BLACK SHEEP WALL I Am God Songs (Experimental/Post Metal, 2008)

Sun, 10 May 2026 00:45:30 EST

Review by UMUR — "I Am God Songs" is the debut full-length studio album by US, California sludge metal act Black
Sheep Wall. The album was initially independently released but soon after released through
Shelsmusic in November 2008. Black Sheep Wall formed in 2006 in Moorpark, California. On this
release they are a trio consisting of Scott Turner (guitars), Brandon Gillickbauer (bass), and
Jackson Thompson (drums). The latter two were simultaneously involved in the mathcore/sludge metal
act Noriega, who released the "Desolo" album in 2009. At the time of recording "I Am God Songs",
Black Sheep Wall didn]]>�session vocalist Jeff Ventimiglia (I Got Shot in the Face, The Faceless).

Describing the sound of "I Am God Songs" as anything else than dense, aggressive, and crushingly
heavy sludge metal with the occasional hardcore edge would be wrong. This is such an intense and
ultra heavy release and the vocals are relentlessly brutal aggressive hardcore snarling/shouting
(although a track like "Myolden" features some clean vocals). The atmosphere is bleak and depressive
but the album actually is occasionally atmospheric rather than aggressive and brutal. When the
atmospheric moments occur they feel like bleak breathers on an otherwise raw and savage release.
Atmospheric in this case doesn]]>�just heavy open chord sections and layered structured noise.

Black Sheep Wall are obviously a well playing unit and "I Am God Songs" also features a heavy and
raw yet detailed sound production, which suits the material well. The slightly one-dimensional
screaming vocals can get a bit grating on the ears, but they are arguably performed with great skill
and conviction. Upon conclusion "I Am God Songs" is a good quality debut album from Black Sheep Wall
and while they don]]>�praise for both the performances, the professional sound production values, and the creative
songwriting. A 3.5 star (70%) rating is deserved.

(Originally posted on Metal Music Archives).

NEBELNEST Saalfelden 2007 (RIO/Avant-Prog, 2026)

Sat, 9 May 2026 22:27:45 EST

Review by kev rowland — NeBeLNeST were an adventurous and energetic young band who emerged onto the avant progressive rock scene in
the late 90's, but after the departure of founding guitarist Cyril Malderez in 2003 they went into a somewhat chaotic
state and although S]]>�afterwards. Eventually the band regrouped as a quintet with Olivier Tejedor (keyboards), Michael Anselmi (drums) and
Gregory Tejedor (bass) being joined by Matthieu Sassier (guitar) and Julien Wack (saxophone, flute, guitar). They were
to play three major dates in 2007, the first being the Rock in Opposition Festival in Carmaux, France, the second was
NEARFest in the United States, with the last being the Saalfelden Jazz Festival in Austria. Afterwards, the band kept
going into the studio but the fourth album was never completed, and the last set ended up being the final gig the
band ever played.

Given the energy and tightness of the band portrayed in this 52-minute-long excerpt, that is honestly nothing short of
shocking given the way they are mixing together so many different stylings from post rock to Canterbury, RIO to
symphonic rock, all with a darkness and passion. The addition of Wack in particular had a major impact on the band's
sound, and his ability to switch onto second guitar alongside Sassier makes a real difference. It is a real shame that
these two never actually recorded with NeBeLNeST, as one would imagine the outcomes would be fascinating as the
versions of recorded songs they perform here are very different indeed to the originals.

Their energy is infectious, and when combined with complexity of their music and styles makes for absolutely
compelling listening and all praise to Cuneiform for making this recording available it has captured the band at the
very peak of their powers and their evaporation from the scene is nothing short of a musical travesty. If one enjoys
complex intertwined RIO from musicians who love what they are doing and approach it with an almost punk
mentality, then this is for you.

SUFJAN STEVENS Seven Swans (Crossover Prog, 2004)

Sat, 9 May 2026 22:10:28 EST

Review by kenethlevine — SUFJAN STEVENS' sexual orientation was the subject of much speculation for 20 years. Because of his devout
Christianity, the frequent references to men in an intimate sense were sometimes passed off as indicative of his
personal relationship with Jesus, much like, though not as naively, as those who refused to believe that Waylon
Smithers on "The Simpsons" was not only gay but in love with his incendiary boss, in spite of weekly evidence to
this effect. When Sufjan finally did "come out", he did so poetically by disclosing that his life partner, Evans
Richardson IV, had passed in 2023, and that removed any doubt among all but the most obtuse.

I only include this preamble because, sandwiched between "Michigan" and "Illinois", apart from, well, Indiana, was this
most introspective and less adorned effort in which many of the tracks explore his own intimate relationships and
interactions, and it wouldn't be the last. These vulnerable tunes stand on their own, but, like most of his
lyrical work, can be appreciated on other levels in the manner of the archetypal yet idiosyncratic folksinger.

While the opener jumps over the cattle guard in excess vocal arrangements, and "Sister" tries to circumvent the
monotony which isn't there through awkward retro rock, the 4 tracks between represent the the summit of the
project's achievements, the best by a light margin being the playful yet bashful "The Dress Looks Good on You",
with the mesmerizing "In the Devil's Territory", the DEATH CAB FOR CUTIE-like "To be Alone with you", and the
poignant ballad "Abraham" all hitting the mark.

"Size too Small" is the sweet confession of a guy who perhaps has feelings for a buddy but is stuck being best man
at his friend's wedding. The banjo and organ add pizzazz to the even more romantically inclined and melodically
masterful "He Woke me up Again". Banjo continues on the title cut, which, like the first number, gets a bit too
oooh y and ahhhh y in the later going, but "The Transfiguration", while more explicitly theological, essentially
captures that more celebrational style that reached its zenith on the next album, and does so authentically.

This is a majestically understated release and probably Sufjan's most fully realized to date, and look at that, it's
shorter than the neck of a Cygnus, but sticks its own neck out a whole lot further.

�RESUND SPACE COLLECTIVE Progably You're Wrong (Psychedelic/Space Rock, 2026)

Sat, 9 May 2026 22:02:12 EST

Review by kev rowland — There is no doubt that 2026 is already lining up to be an incredibly busy year for Dr. Space who has already
released a few albums outside of ]]>��with Psychedelic Source Records also due out any time, along with this album as well, which is out at the end of the
month. It is being released on double vinyl and double CD, with the second CD full of material not available on the
records, and the CD version has a running time of just under 150 minutes. Given "Cakefakebake" is a short synth-
based piece of less than five minutes one can see just how long the rest of them are given the double CD contains
just six numbers.

Recorded over a six-day period in 2022, it was mixed in March 2024 and apart from a few overdubs on the title cut
it was recorded totally live. This is a rather more expanded line-up than the version which recorded 'Espa]]>�no banjo this time, and a few musicians only featuring on one or two tracks (including guitarist Martin Weaver who
can often be found working with Dr. Space on other projects). Dr. Space views the title track, which is slightly more
than 36 minutes in length, as one of the highlights of the band's career and given the way it moves in multiple
different directions at the same time one can certainly understand why. This features Dr. Space (Hammond,
Mellotron, synths), Jonathan Degel (guitar), Hasse Horrigmoe (bass), Mogens Deenfort (Hammond, synths), and
Mattias Olsson (drums, percussion). The complexity of the different interweaving melodic lines is incredibly
compelling, but what I find fascinating is that there is a time within the first quarter of this number where they find
themselves moving almost into a dead end, something which can happen when music is being composed live. Just
when it feels it is over, Dr. Space adds in some synths which totally changes the mood and style and suddenly
everyone feels energised and they move along the new tangent. Given the way Hasse repeats the complex bassline,
totally synced with Mattias, it is difficult at times to remember that none of this was rehearsed or scored
beforehand, just musicians going where the music demands they follow.

This is improvised space rock which I still find as exciting, enthralling and interesting as when I came across their
debut album more than 20 years ago. The final song on this set is "Twissedd" which contains elements I would
normally associate with Gong or Steve Hillage and is an absolute delight. This had the same line-up as previously
noted apart from no drums, which allows the twin keyboard players to wrap their sound around the bass with
Jonathan often driving the lead melody. It is lighter but deeper and certainly feels as if it should be listed to when
laid back at the Aoraki Mackenzie International Dark Sky Reserve staring into the depths of the Milky Way and
wondering exactly what is in there and if there are others trying to see us at the same time.

It is a real pleasure to have multiple releases available from ]]>�different indeed from each other, but both totally enjoyable.

�RESUND SPACE COLLECTIVE Espa�o 3 (Psychedelic/Space Rock, 2026)

Sat, 9 May 2026 21:31:52 EST

Review by kev rowland — The joys of listening to a collective such as ]]>�they start recording, neither do the band. Also, as it is a collective, they happily shift membership based on who is
available and what they want to achieve each time, with the only true constant being keyboard player Dr. Space. As
one may infer from the title, this is the third in a series of albums, and here tracks are often in a longer form. This time
around there are five songs, and if one removes the one which has the temerity to be less than eight minutes in
length this collection is still more than two hours long. Mind you, there is both the full version of "Warbled Cactus
Roots" which is 40 minutes long plus a heavily edited version which is only 23.

Apart from Dr. Space the only other person to appear on all three releases is Jonathan Segel (violin, lap steel, guitar)
with the rest of the line-up this time being Jiri Hjort (bass) and Mattias Olsson (drums) along with Donald Lupo who
provides banjo for the very first time in the band's 20-year-long career. One normally expects lengthy space rock
workouts with a guitar often being the lead and keyboards/synthesisers filling the spectrum, but with Jonathan
providing both violin and lap steel and Donald the banjo, it somehow also feels as if Americana is now reaching back
to us from the future as opposed to the past where it often seems to belong. I found my brain working hard to
decipher what was going on and whether the staccato notes and chords from the banjo belonged here at all as it is
strident, cutting through the rest which by their very nature are more legato. It is made even more curious by the way
Jonathan switches instruments as the banjo sits in against electric guitar in one way, and against the violin in another,
making for a space rock experience which is truly progressive and very different indeed.

I often find albums by ]]>�one cannot really settle, as something keeps digging in. The result is absolutely fascinating and shows that even after
all these years the collective continue to expand what they are looking to achieve, and the result is a bringing together
of different forms which really works.

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

Sat, 9 May 2026 16:34:18 EST

Review by tszirmay —
My third album from this talented crew, and its time for a review (poetry again, Tommy?) . The two previous
releases were quite tasty, starting in 2018 with the Importance of Mister Bedlam and then followed by Silence from
Signals in 2021, both critically acclaimed for their brooding disposition and artistic attraction. Keyboardist, guitarist,
vocalist and composer Danny Sorrell is a soulfully introspective musician who has a brooding outlook and is
unafraid to address the vagaries of human existence, both lyrically as well as colliding the sonic extremes wherever
possible. Aided and abated in his deliverance with a luminary talent like John Mitchell is surely a stamp of high
merit, as the mixing and mastering as well as assorted instrumental appearances construct the process with
edifying surprise. The insertion of vocalist Sarah Bayley provides a master foil to Danny's sorrowful expression,
while drummer Graham Browne adds all the pugilistic percussion one could hope for. Though some love to
highlight comparisons to Porcupine Tree or Anathema, I prefer to eschew pointless tags and favour advancing
descriptions instead.

"Linter" functions as the ideal sonic anaesthetic, laying down a proverbial carpet of feeling and atmosphere before
diving into the nitty gritty with the rousing "Operator" where the pace is immediately geared into raucous overdrive,
no shilly shallying or dithering of any kind, a poignant stab into as both vocalist lay down their truth without
compromise.

"Null the System" is already getting a fair amount of airplay, a cornerstone piece that combines a harrowing sense
of grace that revels in clashing with tectonic riffs that grind without sounding immature. In fact, the dense keyboard
coverage displays a keen sense of strategy, as the ornate piano plays the role of elegant subservience to both sets
of vocal sections, first Sara and then Danny each hitting the higher plateaus of intensity.

What comes next is the vivid 11 minute "My Main Function" whose existence is explained in the title, a painful story
both expressed and told with a desperate clarity, the lyrical content damaged by the toils of life, scars and bruises
not always seen but surely felt. The burly guitar assault shoves any impertinence aside and the entire arrangement
climbs into the sheer crests of resolute effort in reaching some survivable objective. The stark synthesized
background adds all the ominous sensations one could except from a turbulent relationship with oneself; the
shrieking malady of the crackling guitar solo only confirms the yearning for introspective validity. Sorrell offers quite
the critical performance, choosing to emote either vocally or instrumentally on a profound level. The Browne drums
pound the pavement relentlessly like a steamroller out of control, the majestic mellotron the only source of aural
salvation, ?perhaps.

"UI" shows another side, an absorbed melodic solitude, as if our 'technology gone mad' progression has turned
many inwards, both young and old alike struggling with the inability to socialize organically, the willpower replaced
by relentless information overload where nothing has any depth or value, coming across like waves of
instantaneous non-gratification. Depression has become the scourge of our global society, too many unhappy
humans who cannot smile or laugh anymore. This is a gorgeous slice of musical reality where Sarah gets to shine
brightly.

On that rather grim note, the focus opts to concentrate on even gloomier evidence, to be found on the vaporous "If
Else", a floating sonic carcass of emotionless impressions expressed in darker tones, where cracking self-worth gets
lost in the tunnel of despair. The drum work is so off the charts polyrhythmic that it just might even be viewed as
cataclysmic, furiously entangled in a flurry of thumps and jabs that no one could possibly escape.

As if sitting idly on some lonely park bench, waiting to come down from the unshakable scourge of addiction,
"Inheritence" is gently chaotic, as the colliding extremes of the lenient dual voices on one side and Browne's helter-
skelter drum shuffles blasting away in hopeless surrender. Pain expressed with incredible beauty is a bitter pill to
swallow, which why the blues exists in all musical cultures worldwide, its part of the inhuman experience.

Haunting mellotrons and gruff guitar barrages vie for dominance with Sarah's imploring voice pushing back with
swooning elegance, "Pixel Shader" is another chapter in the ongoing battle between the achievements of the past
and the apparently often fake (or at the very least highly distorted) promises of a digitally enhanced paradise. The
problem is the attractiveness of negativity in a hyper-judgemental world where everyone has the overt right to be
utterly stupid if the so desire. Only the number of likes and followers can be the ultimate supreme court of decision
making, deciding arbitrarily (read algorithmically) who is right and who is nothing.

Not at all surprisingly, in lieu of all the nihilism some seem to crave, pushes back with astounding audacity, an
anthemic "Nested Scratch" exudes hope, salvation and ultimate triumph, the Mitchell exit guitar solo exposed as a
ringing endorsement for courage and stiff resistance to the bad-tempered rejections preferred to us constantly.
We all live our lives with a heady combination of success and failure being the constant focus. Yet, I along with some
of my best friends, have learned later the hard way in the course of our existence that only 5 letters (stars) count in
the end, one repeated twice.

H. A. P. P. Y.

4.5 red suns

LEAFBLADE The Dragon Priest (Prog Folk, 2026)

Sat, 9 May 2026 13:35:06 EST

Review by alainPP — "Like Flowering May," with its ethereal, religious choir and chilling arpeggio, is a cinematic opening worthy of "Silent
Hill," poised between folk sweetness and horror. "The Court of Ambrosius" features a sharp, metallic attack, with
an alternative drift, a melting blend of rock and folk-pop. "The Salisbury Henge" builds on a worn-out heavy riff,
with a clear rhythm, a high-pitched organ, and a cantankerous melody that transforms into a hypnotic fusion until
the evanescent acoustic break. The viscous reprise catches the air rushing into your ears; a weeping guitar,
reminiscent of the hard rock dinosaurs of the '70s, a warm melancholy, and a catchy rhythmic foundation. A wet,
acoustic outro exudes a pallid feeling. "Snow on Salisbury Plain," with its icy wind and fragile guitar note, is a
somber interlude, a wandering of notes lost on the plain. "The Beautiful, Silent Kiss" reinforces this austere, sharp
folk sound, a Hackett-esque nursery rhyme from the charismatic Genesis era; a deliberate regression.

"In the Blood Evermore" returns to old-school heavy rock with heavy, raw riffs; a whiff of Metallica and Holy Moses
speed metal, the drums aggressive like those on Megadeth, unique. It climbs higher, surfing on the early Rogue
Male sound, monolithic with its archaic drums and blistering solo. A redundant finale saved by the ethereal,
crystalline outro. "Merlin's Soliloquy" continues here with its weightless, latent vocal, the evanescence of a
soliloquy, a doubt about its future trials. "The Evocation of the Stag" is a cinematic moment rumbling in our guts,
vibrant. "The Stag and the Fae" is a solemn hard rock track, a sly, meandering piece worthy of Antimatter, set
against a backdrop of relentless pads, its austere riff reminiscent of a bucolic clearing in the mid-70s. "The Dragon
Priest" is a direct attack, with Anathema echoing in its latent intro. The riff, combined with clean drums, evokes a
medieval heavy metal sound over a disorienting operetta-like pop vocal. The new-age keyboard drift is even more
striking before the band revisits this mournful, antiquated melody. A second, more spatial variation, psychedelic
post-rock, culminates in a stunning outro.

Leafblade hails from Wales, where the sound is earthy. Their powerful lyrics draw on early progressive metal and
proto-folk acoustic music, with haunting, contemplative melodies blossoming in the desolate landscape of
Vortigen. Arthur, aided by his faithful dragon-slayer Merlin, ascends the throne; he will go to Stonehenge, a mystical
place of passage where pagan fortune-telling is practiced. (3.5)

RAINBOW Straight Between the Eyes (Prog Related, 1982)

Sat, 9 May 2026 10:32:42 EST

Review by A Crimson Mellotron — If only this album had more songs like 'Eyes of Fire' and less like 'Rock Fever'! Rainbow quickly
followed-up 'Difficult to Cure' with the 1982 release 'Straight Between the Eyes', which picks up
exactly where its predecessor had left off, stylistically speaking. This is the band's second
consecutive studio offering with vocalist Joe Lynn Turner, whose excellent voice sounds a little
more confident with the Rainbow style this time around. David Rosenthal, however, replaces Don
Airey, bringing in a perceivable symphonic edge to the keyboards department (given his experience
with the band Happy the Man). The rest of the lineup remains the same. Of course, 'Straight Between
the Eyes' is dominated by the exuberant guitars of Ritchie Blackmore, whose writing is intense,
fast-paced and occasionally even pragmatic, bringing in just the right amount of virtuosity and
complexity to the mix. The songs are once again very anthemic, loud and lively, making this LP an
enjoyable exercise in 80s hard rock with strong AOR leanings.

This record produced another hit single - 'Stone Cold', a song similar to 'I Surrender', which
appears on 'Difficult to Cure'. Other great songs on here include 'Tite Squeeze', which has an
almost 70s Deep Purple-like vibrancy in the production as well as the song 'Miss Mistreated', which
is an obvious reference to Blackmore's years with his previous band. The best song appearing on this
record has to be the closing track 'Eyes of Fire', with its seven minutes of intense riffing,
oriental-inspired guitars, tight rhythms and sophisticated structures; undeniably one of the most
progressive-sounding pieces recorded by Rainbow in the 80s. Overall, 'Straight Between the Eyes' is
a really solid hard rock album that suffers from a lack of originality, with the band relying more
on the tried and tested formula rather than on experimentation and novelty. Again, if this record
had more songs in the vein of 'Eyes of Fire', it could have perhaps been regarded more highly by a
larger audience. Nevertheless, it remains a respected Rainbow album.

AELEMENTI Una Questione Di Principio (Rock Progressivo Italiano, 2017)

Sat, 9 May 2026 09:22:58 EST

Review by Finnforest — Punch and Melody

This fine Roman band began their journey around 2007, and it would take a decade for this first CD
to be released. It should have gotten more buzz because it is yet another interesting modern RPI
band. They were working on their follow-up album during COVID, but as of yet it has not materialized
to my knowledge.

Una Questione di Principio is a formidable debut. This is another band starting perhaps with
elements and influence of RPI's classic tradition but presenting a fully 21st century update. They
move with ease into crossover territory with a strong sense of melody and catchy motifs punctuated
by heavy guitars, touches of metal (but not too much), and the intense vocals of Francesca Piazza.
Most of the tracks are in the 6-8 minute range allowing plenty of time to develop elaborate
progressive themes, but, as mentioned, the band has a real knack for blending the complex with the
catchy. I am reminded of other groups who successful merge the two, some also with strong female
singers like Ephemeral or Conqueror.

The use of layered harmony vocals and crisp melodic leads with tight rhythm over the moderately
tough song exterior suggests an alternate direction that Heart could have embraced in the '80s had
they not sold out and subbed out their songwriting looking for pop hits. It would have been
fascinating to hear a different direction. There's also some All About Eve vibe happening with
AElementi, though probably just coincidence. The solid keyboards add another impressive layer and a
more regal variety of sound against the distorted guitars.

If you're into melodic Italian prog with metal and crossover elements galore, with strong female
vocals, a great balance of guitar versus keyboard, and really great atmospherics, this is a debut to
check out. Look forward to seeing where they go next.

RICK MILLER Temporal Illusion (Crossover Prog, 2026)

Sat, 9 May 2026 08:42:26 EST

Review by tszirmay —
Another artist that will always find safe harbour with the Prog Rogue, is this remarkable composer and fellow
Canadian Rick Miller, a deserving iconoclast who forges his own path as he sees fit, unmolested by corporate
pressure or any outside critic. These are attributes that I have always deeply admired, and his massive discography
holds a special sector in my wall of prog collection (which should soon rival that Chinese one, 😊) with this new
arrival being the 15th I get to enjoy! His style is specific to his muse, and he maintains his aural garden like a
dedicated professional, exploring constantly within his realm and not seeing the need to explore into new fangled
territories, a trait that deserves to be applauded. His talented crew remains the same and consistently delivers
quality interventions that show no weakness, all his albums earning very high marks in my book. In fact, Rick is
surely among the most consistent and prolific prog stalwarts in the community, and more power to him. If you are
in desperate need of listening to a fusion of crypto-psychedelic-Pomeranian polka, with proto-punk inflections and
lyrics spewing venom, look away Ren]]>�audiences that enjoy and relish harmonic comfort zones.

Seven mid-size tracks constitute this new phase, for a scenic 50-minute journey into the movie playing in your mind.
Are we ready to roll? "Fill the Night" sets the stage with soporific electronics, violin and cello orchestrations that
define beauty, flute and oboe weaving the seduction, all wrapped in a stout melody that gets to the point
unmolested, finalized by a Barry Haggarty guitar soaring ceremoniously. Panacea. Rick's silky voice has become
such a treat over the years, like a welcome companion, aging like fine wine.

Mateusz Swoboda's cello festoons "The Game", a marathon nearly 10-minute foray into a more substantive
composition with a clearly defined premise, finding Kane Miller's violin swerving amid the various keyboard
accoutrements, namely mellotron, church organ and synthesizers and urging the constant ebb and flow into
various levels of enchantment.

The dominance of melancholic reflection is the hallmark attribute this artist possesses in spades, and the lovely
innocence of "Autumn" cannot fail to impress .The wind instruments also play a pivotal role in Rick Miller's music
and both Sarah Young on flute and oboist Carolina Prada shine on "The King of Men", a climactic track here that
features one Barry's finest solos, an electric glide up and down the spine, insistent and precise. The keyboards
harken back to a time in history where life was constantly faced by challenges, a grandiose exploration of society
trying to find its way.

The frightening "Gargoyles" conjures spooky images, where echoing walls of distant choir vie for space between
crystalline droplets of sound, Rick's haunted voice facing the terror head on, on a backdrop of fog-drenched gasps
recalling the tortured horror of revolting creatures that instill still can fright in all humans. Evocative, compelling and
goosebump worthy, it's definitely a highpoint moment in Miller's otherwise celebrated repertoire . The subtle axe
solo delivery exudes just the right amount of trembling perspiration required to feel the dread permeating the skin.
Where is that darn exorcist when I need him? A wreath of garlic may work in the meantime.

Classic Miller composition on the floating luxuriance of "Time and Again", a flute fuelled gust of illusional splendour,
dreamy guitars clicking the space between where we are now and where we shall be sooner or later. The dense
choir backdrop provides the cinematographic canvas to best express the momentary absence of cartesian reality.
The whispered voice infuses a wonderment than verges on introspective reflection. Eternity shines forevermore.
On "Overload", the trusted expanse of the dune-laden sonics reappears subtly on the swooning caravanserai, the
stoic palm trees barely effected by the seraglio winds, the flute enchanted all the cobras in your mind, the pulse of
dromedaries navigating the sands of time, effortless onwards into the horizon , as the 'aah-ooh' choruses egg on
the weary travelers. Amazing as per norm, I need an oasis after this, throat parched , mind numbed and heart
contented.

Rick Miller is a permanent member of my personal Prog temple, proving over and above his ability to progress
immensely within his sphere of expertise, and I am blessed to diligently find existential comfort in his music. I urge
fans of escapist discovery to check out his universe; there is never any hint of disappointment. This is his best yet !

5 Sequential Mirages

PHLEBOTOMIZED Immense Intense Suspense (Tech/Extreme Prog Metal, 1994)

Sat, 9 May 2026 08:09:07 EST

Review by siLLy puPPy — Once the idea of fusing death metal and doom metal took place with bands like Paradise Lost bringing
it to prominence, the style took on a life of its own and generated countless hybridization moves
that continue to the modern day but even in the early 90s a few bands were taking it to more bizarre
and extreme measures. The Dutch band PHLEBOTOMIZED started out as a rather brutal death metal band
with traces of grindcore under the banner of Bacterial Disease but after about a year after its
inception in 1989 a complete revamp took place not only adopting the new moniker but also steering
the intense savagery into slower plodding tempos with touches of goth all decorated with atmospheric
keyboards.

The band caught the death metal world off guard with its avant-garde debut IMMENSE INTENSE SUSPENSE
which emerged from the underworld in 1994. Clearly referencing many antecedents including not only
the recently released debut by The Gathering and the early violin-dirge metal laid down by My Dying
Bride but also copped a bit of the Type O Negative goth metal vibe. If you dig even deeper though it
seems that the band was smitten with Celtic Frost's avant-left field release "Into The Pandemonium"
which introduced strange new ideas and unorthodoxies to a nascent thrash metal scene as it was laced
with all the gloom, doom and goth you could hope for. PHLEBOTOMIZED simply added the deathened
touches and voila a new stylistic approach was born.

Eclectic and experimental in many ways, IMMENSE INTENSE SUSPENSE sounds like a typical old school
death metal release in many ways at least in terms of what early Edge of Sanity or Dark Millennium
were cranking out but embellished with the more recent newfangled accoutrements of synthesized
melodic counterpoints which were brought to life with bands like fellow Duchies The Gathering just a
couple years prior. While the beauty and beast approach would also find its way into the mix,
PHLEBOTOMIZED didn't stop there but apparently was smitten with the lugubrious violin additions that
My Dying Bride had made their own complete with moments of clean moment lamentation and slower
tenebrous bouts of depression, a stylistic approach that would spawn the world of funeral doom
metal.

But even that wasn't enough and PHLEBOTOMIZED went for the true avant-garde with references to
progressive rock with its intricately designed compositional approach that featured lengthy song
structures that delivered a variety of musical motifs in rotation. Tracks like the 9-minute-ish
tracks like "Dubbed Forswearer" and "Mellow Are The Reverberations" displayed a more mature approach
to how death metal could cross-pollinate with not only a large number of extreme metal species but
also completely alien concepts altogether. The result was tantamount to traditional prog rock album
of the golden years only set to evil and depressing moods that slowly plod their way into your
consciousness and then pummel your senses with turbulent riffing chugging and spidery keyboard
accompaniments.

A unique album even in the PHLEBOTOMIZED canon, the band would go off the deep end on its sophomore
release and deemphasize the death metal and rather get all extravagant with a failed attempt to go
full on prog before settling on a tamer melodic death metal demeanor in the future but for this
debut where seemingly anything goes the band did a decent job at cranking out a wild menagerie of
metal madness inspired by completely different styles that came before. Although it's cleverly
creative, the album suffers from a lack of cohesiveness as some of the key aspects water down the
death metal bleakness and the acoustic guitar aspects seem a bit out of place. I'm not overly
enamored with the cleaner vocal styles but in the end it's certainly an album any avant-metal seeker
should experience. The group shouting on "In Search Of Tranquility" are rather unnecessary as well.
Not perfect but definitely unlike anything else of the era or ever since for that matter and worthy
for historical value alone.

3.5 rounded down

TRACE Trace (Symphonic Prog, 1974)

Sat, 9 May 2026 08:08:36 EST

Review by siLLy puPPy — One of the more energetic bands to emerge from the Dutch prog scene of the 1970s was TRACE which
came about after Rick van Der Linden had been asked to leave Ekseption but luckily the Philips label
allowed him to form another band since his band Ekseption was quite popular and apparently
profitable. Originally intending to steal Ekseption drummer Peter de Leeuwe, tensions soon arose and
instead second cousin Pierre van der Linden was in the percussionist's seat. He had just recently
left Focus after playing on the "Focus III" album. After finding seasoned bassist Jaap van Elk of
Blues Dimension and Cubby + Blizzards, the power trio was born and often referred to as a Dutch prog
super group although other than Focus most of these acts weren't very well known internationally.

Clearly inspired by The Nice and the subsequent Emerson, Lake & Palmer, the debut album simply
titled TRACE featured the same rockin' the classics approach of the former with some of the
pyrotechnic flash of the latter. Characterized by the standard symphonic prog approach in all-
instrumental form, Rick van der Linden's keyboard playing was clearly the star of this show with
many arrangements derived from classical pieces including "Gaillarde" from Bach's "Italian Concerto
BWV 971," "The Death Of Ace" which mined motifs from Edvard Grieg's "Peer Gynt Suite [5, 17, 18] as
well as finding inspiration from a traditional Swedish folk song with "A Memory." While the
remaining tracks are truly original, the trio pretty much followed in the footsteps of ELP and
similar classically infused prog bands.

While the symphonic playbook clearly constitutes the bulk of the band's sound, TRACE was also quite
adept at venturing into bopping jazz sequences as well as adding some unexpected sounds of the
bagpipe in "The Escape Of The Piper" while "Once" finds showcases the band's whimsical side as they
get all playful thus demonstrating they can drop out of serious mode at any given moment. Even a
vacuum cleaner can be heard! Overall though this is mostly a jamming session type of album with
lengthy bass grooves allowing the ingenuity of the keyboardist to improvise around. While not quite
up to Keith Emerson godlike status, Rick wasn't too far behind. The album of 11 tracks and 50 1/2
minutes which was quite lengthy for the day displays a nice variety of ideas that are displayed over
the rather uninspiring ostinato and cyclical loop effect however the keyboards can sound a bit
cheesy and the weakest member on board is Pierre van der Linden who serves as a rhythmic timekeeper
but doesn't really show a level of competency that matches the other two.

Overall it's a fun album that is an exhilarating listening experience even if not perfect. The
weakness of the drummer is what really keeps this from being a much more enjoyable symphonic prog
album. In the end there's too much ELP worship and despite its ability to add some interesting ideas
to the mix sounds rather lackluster in comparison to ELP which were prog gods of super star status.
Where that band succeeded in sounded epic throughout its early years, TRACE on the other hand sounds
more like a primitive version of ELP stuck in the late 60s and is more akin to The Nice which served
as the staging ground for the greater ELP majesty to come. Definitely a beautiful album that
features a wide plethora of keyboards sounds ranging from Hammond and church organs to mellotrons,
clarinets and harpsichords however the wild excesses of the keys leave the other two members
sounding a little out of balance with the bigger picture. A decent debut album but far from the best
the Netherlands had to offer at the time.

3.5 rounded down

HANGOVER PARADISE Mirrors (Neo-Prog, 2013)

Sat, 9 May 2026 08:08:02 EST

Review by siLLy puPPy — One of the newer neo-prog bands to emerge from the Netherlands, HANGOVER PARADISE has a moniker that
sounds quite inviting, doesn't it? I mean party on and then go to paradise to recover? Hell yeah!
This band formed in the northern city of Assen in 2010 and has released three albums with the latest
coming out in 2025. The band's lineup has been a little shaky over the years however the three
members of Peter Zwerus (keyboards), Henk Zwerus (keyboards) and Pieter Nanuru (guitar) have
remained committed over the band's 15 year existence. MIRRORS was the debut emerging in 2013 on the
Ayl label and follows in the neo-prog traditions laid down by Marillion, IQ and Pallas as well
featuring nods to early Genesis, Pink Floyd and even a little Rush.

Featuring eight tracks which collectively add up to just over 56 minutes, many of the tracks are
well over the eight minute mark. The lineup for this debut featured Pieter Nanuru (guitar, vocals)
Peter Zwerus (keyboards) Henk Zwerus (keyboards, vocals), Cynthio Ooms (bass) and Jeroen van Stenis
(drums, vocals) along with Elias de Vries as lead vocalist. A guest cellist is also on board and the
band evokes the 1980's keyboard and symphonic styles that revived the world of progressive rock in a
decade that was much more favorable to pop music. Compared to a plethora of crossover acts including
the Canadian Saga, Marillion and even Eloy, HANGOVER PARADISE did latch onto its own distinct sound
from the get go.

While often lumped into the world of neo-prog, HANGOVER PARADISE offers a more diverse progressive
rock palette than the average band dipping into that subsection of symphonic prog with traces of
folk and harder rock but still tackles the expected melodic compositional approach with both softer
and faster dynamics that feature the emotive vocal style of the lead singer. Subject matter is well
within the context of neo-prog as well and covers the trials and tribulations of life and world
issues ranging from child exploitation to religious conflicts. Also in line is the adopting of the
emotional guitar works however the compositions do evoke a bit more of the cheesiest 80s style of
neo-prog from lackluster albums such as Pendragon's abysmal "Kowtow" or IQ's "Are You Sitting
Comfortably?" Only not as gawd awful.

I can't say this band really floats my boat. While influences are all fine and dandy this band
adopts the less favorable aspects of neo-prog when the genre was sort of in a fusion war with new
wave and other synthpop styles of the 80s only teased out into longer compositions. I'm also not
enamored with De Vries' vocal range as it's rather unimpressive for a musical style that benefits
from exceptional vocal abilities. Likewise none of the compositions themselves really grab me by the
gonads and demand respect. It's sort of weird that the band latched onto a somewhat original
stylistic approach yet spoiled it with rather lackluster tracks that play it safe and generate a
rather generic approach to songwriting. It's a pleasant album and all but in the end doesn't really
float my boat in a way that i'd ever have a desire to return for future visits or even to explore
the band's other two albums for that matter.

JACK BRUCE Things We Like (Jazz Rock/Fusion, 1970)

Sat, 9 May 2026 04:22:21 EST

Review by Fercandio46 — Riding the waves of free jazz is sometimes like surfing the waves on the beach... if you don't flow with them, with
their rhythm... you risk sinking. It's a bit like sliding down a toboggan, or venturing into a labyrinth... if you enjoy not
having complete control, not knowing where you'll end up... that unique adrenaline rush of improvisation where
sometimes the melody is there... and other times it hangs on the wall like a coat that bothers you when it's hot.
One way to explain Things We Like could be that... another is the friendship between Jack Bruce and John
McLaughlin and saxophonist Dick Heckstall-Smith of the Graham Bond Organisation, along with Jon Hiseman who
would join later. And that's how the quartet in 1968, with Bruce on double bass, ventured into wild... anarchic...
waters, almost embracing Dadaism, as could be seen from the provocative cover art.

If we were talking about a race against himself, about catching up... this album takes it to its highest expression.
Over The Cliff features a constant rotation of instruments: drums, saxophone, double bass... occasionally one
taking over, sometimes several of them together in unison. You choose whether to listen to the whole or the
individual elements, which allows for future listens, appreciating different albums in one.

Once the ice is broken... because this is a fiery album, comes Statues, where we can almost imagine the black night,
with its inseparable stillness, and the statues coming to life, stretching to the rhythm of the saxophone, which
sometimes reaches high notes reminiscent of Coltrane, until the introduction gives way to a frenetic, raw,
streetwise bebop, and of course, the imprint of Charles Mingus throughout the album, which is amplified by the use
of the double bass, which even plays like a cello in Statues, full of nuances like the proposed nocturnal spell.
Sam Enchanted Dick enters with an almost danceable, funky rhythm, featuring the intrusion of John McLaughlin,
who wasn't afraid to go off-key. Let's not forget that this was also the era of Extrapolation, his first solo album,
similarly related to improvised jazz. And indeed, McLaughlin and Heckstall-Smith engage in a dialogue on it.

Born To Be Blue reaches new layers of sound, new bass, which accompanied by McLaughlin's notes complete the
plasticity of the record...malleable, just as HCKHH Blues is sandy, swampy, we sink into it, McLaughlin here weaves
an invisible net with the guitar, a mantle in which, within this vehicle called Blues, the double bass and the drums
enter, navigating these competitions in a style similar to Mahavishnu, until the saxophone unifies them like Wayne
Shorter did at the time with Miles Davis.
Ballad For Arthur is a fusion between Coltrane's A Love Supreme and something definitely cosmic, they put it
together...from echoes, and it always reminded me of a great saxophonist who would come later, the great Thomas
Chapin, who with his trio would make the unforgettable Night Bird Song (1999).

Things We Like experiments with counterpoints and shows the study of Bach, transposed in this case to jazz, with
the quartet in full cutting the spaces and trimming until making another figure and changing the mold...until the
bonus track, Ageing Jack Bruce, Three, From Scotland, England which foreshadowed their joint work, that of Bruce
and McLaughlin, in Tony Williams' Lifetime, electrifying things even more.

JACK BRUCE Songs For A Tailor (Jazz Rock/Fusion, 1969)

Sat, 9 May 2026 04:21:12 EST

Review by Fercandio46 — A very special story surrounds this debut album by Jack Bruce, the bassist and star singer of Cream. For starters, it's
not his first album, as he had previously released Things We Like, though it was released later. Secondly, the title is
dedicated to Jeannie Franklyn, who designed Cream's costumes (and was the girlfriend of Richard Thompson,
guitarist of Fairport Convention). She had written him a letter that he received after she had already died in a car
accident. The lyrics were written by poet Pete Brown, who was especially inspired by William Shakespeare.

Never Tell Your Mother She's Out of Tune stands out from the very beginning with a prominent bass and horns,
setting it apart from the work of his previous trio. Jack Bruce's musical world was vast, and he was only just
beginning to express it. Bands like Chicago, If, Colosseum, and Chase, with their prominent horn sections, are
clearly influenced by this album; in fact, Jon Hiseman (of Colosseum) handles drums for almost the entire record.

Theme for an Imaginary Western embodies all the poetic harmony, not lacking in epic grandeur, that characterized
his compositional style, already evident in his Cream songs. A powerful and warm voice, not your typical voice, and
therefore all the more unforgettable. Forever associated with him, as much as the sound of his bass. He also takes
charge of the piano, creating unforgettable atmospheres that link him to Procol Harum or The Band.

And of course another facet with Tickets to Water Falls, with a more experimental piano, the accompanying bass
and above all the vocal part, playing with atonal harmonies, in what would be the beginning of a difficult terrain to
approach which he would not avoid in most of his career in the 70s, this balance between classical and other avant-
garde rhythms.

Weird of Hermiston is the first of the classics that inhabit this record...related to the style of Cream, however it plays
with feigning going in directions that it then avoids...while the lyrics advance telling the story...reaching higher
notes...which was what Jeannie Franklyn asked for in her letter. Rope Ladder to the Moon is the quintessential
Bruce composition from this period; its spirit is in the phrasing, in that walking on fire, clinging only to the
bass...with the cello he himself played hot on his heels...in a mad race against himself. The melody is esoteric, and it
wouldn't sound out of place on a Bowie album from the same era.

From the soul and Rhythm and Blues of The Ministry of Bag to the acoustic facet of He the Richmond where the
acoustic guitar interacts with the bass and yet the star are the strange vocal harmonies it achieves, giving the theme
a strange and inspired oriental aura. The bass rivals the horn section in a cacophony where Bruce's voice almost
sounds like Steve Winwood's in Traffic in Boston Ball Game 1967...forming another kind of rare psychedelia while
we can't stop listening to the bass's run in just...one minute forty-five.

There was also room for more intimate moments, like in "To Isengard," where everything dissolves and it feels as if
we're walking among the clouds...a duet with Felix Pappalardi...until it abruptly shifts and the bass accelerates along
with his voice, the two of them front and center, throwing themselves into the void. If we don't fall, it's thanks to
that imaginary, yet firm and thick line woven by his bass, a magical bass at this point, which undoubtedly leads us
to the other side...although Jack wasn't afraid to throw himself into the void, being as he was on the podium of the
best bassists of his time, and also being a multi-instrumentalist, singer, and composer. "The Clearout" closes the
album with energy and confidence...that mystique he had created in Cream, and for that reason, he had every right
to don that suit himself, a suit with as many uses and colors as he desired.

RPWL Tales from Outer Space (Neo-Prog, 2019)

Sat, 9 May 2026 02:27:09 EST

Review by A Crimson Mellotron — 'Tales from Outer Space' is a quirky and ambitious sci-fi concept record from German prog band RPWL,
their seventh studio album overall. This is a spacey and melodic musical odyssey that goes through
seven distinct tales, as told by the excellent frontman Yogi Lang, with the music carrying a strong
resemblance to the atmospheric space rock of bands like Eloy or Floyd. RPWL have always captivated
their audience with gorgeous melodies and sophisticated songwriting, and 'Tales from Outer Space'
makes no exception. The album combines beautiful symphonic passages with psych-laden synth
soundscapes, with the majority of the material here respecting the neo-prog aesthetic of the band's
earlier albums. At the same time, this record has something commercial to it, almost like an
underlying AOR strand, especially on the shorter songs. What is interesting is that guitar player
Kalle Wallner also handles all the bass parts, as RPWL recorded 'Tales from Outer Space' as a four-
piece.

Of the seven songs that are featured on this release, about half tend to be really enjoyable, while
the rest are soporific, lengthy or downright average. Opener 'A New World' is a fine ode to outer
space, the sound is warm and accessible, and the guitar work is modest but melodic. Some listeners
do praise the memorable chorus of this song, that despite its obvious qualities, is not the best
thing this band has recorded. 'Welcome to the Freak Show', which comes right after, has a darker
atmosphere that renders it one of the album highlights, even if the band references Floyd's 'Time'
quite bluntly in the second part of that track. The 10-minute-long suite 'Light of the World' offers
a very spaced-out, lush palette of sounds, that is perhaps appropriate for the conceptual side of
the album but tends to feel tedious upon repeated listens. We then have two relatively shorter
tracks, of which 'What I Really Need' is the more enjoyable one. It reminisces the music of Canadian
songwriter Rick Miller, and therefore, its blueprint - the Alan Parsons Project. 'Give Birth to the
Sun' is another fine moment, impressing with the strong musicianship and melodic acumen, but really
some of these tracks are just longer than necessary. The closing piece 'Far Away from Home' has
little to do stylistically with the rest of the spacey psych-prog sound of the album. Final verdict:
really good but slightly linear and derivative.

CLAUDIO ROCCHI Volo Magico N. 1 (Rock Progressivo Italiano, 1971)

Fri, 8 May 2026 22:56:17 EST

Review by The Progolyte — I was pleasantly surprised by Claudio Rocchi's sophomore album, Volo Magica N. 1. I originally thought that
Claudio's music was more focused around a shorter and more singer-songwriter-oriented style, but instead
I was presented with a record that explores many different genres, such as folk, heavy psych, prog, jazz,
and of course an Italian twist that makes everything feel more authentic and interesting sound. I really liked
how Claudio isn't afraid to dabble in more explorative music and write songs that can reach stellar lengths,
and though some of the shorter pieces feel more like attempts for a money grab, the longer ones definitely
make up for it as they are top-notch. Moving on to the lineup, Claudio has a long list of musicians he
brought in to help him make this record. The lineup consists of him on vocals, guitars, and some piano,
Eugenio Pezza on various other keys, Alberto Camerini and Ricky Belloni playing guitars on the longer
compositions, Eno Bruce also helping out on guitars and also playing bass and harmonica, Lorenzo Vassallo
on drums, and then four other vocalists helping out on side one.

Before I start, I want to quickly say that I didn't really think the album cover was good, and its bleak and
simple design could've used more work and had a better representation of the music. Side one is taken up
entirely by the incredible title track, which is a whopping eighteen minutes long. It's a great blend of mellow
folk and heavier prog, almost moving into a classic rock sound while still keeping the emotional depth of
the Rock Progressivo Italiano sound. The next song, La Realta' Non Esiste, is probably the biggest and most
popular song off of the album. It has hundreds of thousands of streams on Spotify and is mainly a calmer
folk song. The album's closer, Tutto Quello Che Ho Da Dire, also follows the same path and is mainly just a
low and catchy composition. The other long track on here is the eleven-minute-long Giusto Amore, and it is
essentially a continuation of the music found on side one, having unique solos and driving rhythms. And
while the music on here feels generally original, you can still pick out influences.

In conclusion, this is Claudio Rocchi's best work (between the other albums I've heard) and easily his most
progressive and far-reaching record. I've only listened to a few of his albums, and none of them have this
style, so it's quite a shame he never made anything like it again. This one is a low-to-mid 4/5.

I SINCOPATICI La Corazzata Pot�mkin (RIO/Avant-Prog, 2026)

Fri, 8 May 2026 22:49:28 EST

Review by kev rowland — I Sincopatici are an ensemble based in Milan, Italy, who were formed by Francesca Badalini (piano, electric guitar) with
the aim of re-scoring early 20th Century silent movies. They have been collaborating with Cineteca Italiana since 1999
and have worked on famous movies such as 'Nosferatu', 'Metropolis' and 'The Cabinet of Dr Caligari' as well as some
which are less well-known such as 'Seven Footprints to Satan', 'The Lost World' and 'New Babylon'. The group have
been concentrating on undertaking live shows through Italy, and this is only their second album, following on from
'Decimo Cerchio' where Claudio Milan guested on vocals. Along with Badalini, bassist Andrea Grumelli played on that
release, and this time the line-up is completed by Silvia Maffeis (violin) and Teo Ravelli (drums, live electronics).

Here they have taken as their subject the 1925 Russian film, 'Battleship Pot]]>�a crew who mutinied in Odessa in 1905. Interestingly, it is not the first time that it has been used as a musical
reference in recent years, as Pet Shop Boys undertook something similar (but very different) in 2005. As one expects
from the silent movie era, this music was played live in the studio, no overdubs or retakes and works incredibly well
both as a standalone set (which is how I listened to it the first few times) or when playing the movie itself. AI has been
used to "colour" (it's not brilliant) the original film, and along with the new music has been given a vibrancy which
makes it fascinating. The footage of the shot mother accidentally pushing her baby's pram down the steps and the
violence which immediately follows is both deep and shocking, with the music taking it to a new level.

The result is piece of art which has taken the film and lifted it to a new level, and while it is very unlikely I will ever see I
Sincopatici perform here in New Zealand, I would imagine the experience would be like when I saw Goblin play the
soundtrack to 'Suspiria' some years back, which was wonderful. This album stands on its own as a modern soundtrack
with heavy classical intent or to be played as accompaniment when watching the film. Either way, this is another
wonderfully solid album which I have thoroughly enjoyed.

I SINCOPATICI Decimo Cerchio (RIO/Avant-Prog, 2025)

Fri, 8 May 2026 22:18:44 EST

Review by kev rowland — This album needs some background information, but given the depth of the performance, this is quite fitting. What
we have here is a soundtrack to the first ever full-length Italian film, 'L'Inferno', which was released in 1911 and is
based on the first canticle of Dante Alighieri's 'Divine Comedy'. The music contained here was recorded live in
November 2021 by I Sincopatici, who comprise Francesca Badalini (piano, synth, zither), Andrea Grumelli (fretless
bass, electronics, soundscapes), and Luca Casiraghi (drums and percussion) They aim to discover silent film
masterpieces and then provide live musical accompaniment to accompany them ? anyone who has seen this
approach will know just how powering that can be (I was incredibly fortunate to see Goblin perform at a showing of 'I
Suspiria' some years ago). On this project they have also brought in the talents of Claudio Milano and the result is
something which is compelling, intriguing, powerful, passionate, gothic and operatic all at once.

To my ears Milano is a true vocal talent, much more than "just" a singer, bringing many styles to bear which are RIO,
experimental, eclectic, avant and so much more. Here he provides vocal gymnastics, showing a breadth of range
which is remarkable as he moves from growls to falsetto, providing the perfect counter to the experimental styles
going on beneath him. It is incredibly dramatic, so much so that when listening on headphones one can picture the
scenes taking place (I have yet to see the movie itself, but there is a QR code within the CD booklet which allows one
to download the official video for this). That it has been made available on vinyl is incredibly fitting as this is an album
of real depth and breadth, and one cannot imagine this being available just in a digital space as this has presence and
power. This is music which refuses to conform, is designed to be listened to in its entirety and not something to be
dropped in and out of. It feels special in a way which is difficult to describe, and even though this is something which
will appeal only to a select few I am not surprised to find it nested within ProgArchives' Top 50 albums for 2024.

With the lyrics in Italian, I can only take Claudio's vocals as another instrument, which in this context is exactly the
right thing to do as he is using his voice in a way which allows us to understand he is a true master of his craft,
seemingly at home with every style and emotion he is asked to portray. It is his vocals which lifts this to the next level,
as while the music can, and does, exist without him, it is his approach which takes this album into a very special area
indeed. This is not an easy album to listen to, and there will be many progheads who will play part of this and cast it
aside, but for those of us who "get this", we understand we are in the presence of something very special indeed.

FLIGHT RECORDER Sirens (Crossover Prog, 2025)

Fri, 8 May 2026 21:57:31 EST

Review by kev rowland — Having recently reviewed Marcel Singor's new solo album I now find myself listening to his new project with Robin Van
Vliet, with the two musicians/singers/songwriters joined by three guest drummers on one track each (the rest being
programmed). Robin is best known for his work with Slagerij Van Kampen, Media, Anouk, Racoon and Secret
Combination while Marcel is most known for his work with Kayak, Ayreon, Star One, Bas Bron, and Plan Nine, so both
have stellar pedigrees.

Musically, this is actually very close indeed to Marcel's solo album, which is also worth checking out, as there is no
doubt that Dan Reed Network is a key influence, along with the poppy elements often used by Todd Rundgren. The
result is an album which is very crossover prog in its appeal, almost "prog lite" in places. It is a very easy release to
listen to, with the main criticism being the lack of real drumming throughout and a production which has somehow
removed much of the soul and depth. One can certainly imagine much of this being released as singles in the Eighties
and getting airplay in the States, but if one think of many prog albums as the main course this feels more like an
appetiser as once it has finished one still wants more.

It is a very pleasant release indeed and one I have enjoyed listening to while never managing to become essential, but
if this style of prog/pop crossover is what you are interested in then you will undoubtedly get a great deal from it.

FRANK ZAPPA Zoot Allures (RIO/Avant-Prog, 1976)

Fri, 8 May 2026 15:02:48 EST

Review by BrufordFreak — Released by Warner Bros. Records on October 29, 1976.

1. "Wind Up Workin' In A..." (2:29) one of Frank's less-attractive song's used in the act of social commentary. What a
waste of talent and vinyl space. (8.5/10)

2. "Black Napkins" (Live *) (4:15) the first recorded version of this iconic FZ original. Great guitar. (9/10)

3. "The Torture Never Stops" (9:45) the debut studio version of this iconic FZ song that had already been recognized as
a fan favorite from 1975 concert performances. I admit that it does an amazing job of conveying the psycho-sexual
horror and eroticism of the topic at hand--thanks in large part to the awesome reverberating sound given to the
Fender Rhodes. (18.75/20)

4. "Ms. Pinky" (3:40) part Edgar Winter's "Frankenstein," part classic FZ, yet another sophomoric lyric of excessive
sexual innuendo. The music is well-performed, the lyric degrading. (8.75/10)

5. "Find Her Finer" (4:07) I'm really not sure what Frank is trying to do here: both musically and lyrically. I swear parts
of him feel as if the music of the 1950s and early Sixties missed their true calling. (8.75/10)

6. "Friendly Little Finger" (4:17) oddly Gamelan/Indian/"Tomorrow Never Knows"-feeling music used by Frank to show
off his musicians' musicianship (including his own on lead guitar). Nice. (9/10)

7. "Wonderful Wino" (3:38) interesting horn-accented three-chord heavy metal rock 'n' roll used to convey Frank's
celebration of a wino. Yet one more vehicle for sad potty humor. When will Frank grow up? (8.75/10)

8. "Zoot Allures" (4:12) a nice, very interesting instrumental palette and motif with slide guitar, drums and wonderful
electric bass, and xylophone teamed up to support Frank's Ry Cooder-like guitar soloing. And no words, singing, lyrics!
Me likes. There is a little Hendrix and a little Coryell in this as well some Roy Buchanan and Jeff Beck. Too bad they
chose to fade it out rather than play some more. (9.125/10)

9. "Disco Boy" (5:09) drum machine! Heavy Metal rock guitar strumming. It's Todd Rundgren! With Frank Zappa singing
the intimate low grumbles while Terry Bozzio and the over-the-top teenie-bopper background vocalists helping out
with the song-title chorus. There's Badfinger and T Rex and early Thin Lizzy in this fairly simplistic song. (8.667/10)

* Recorded in Osaka, Japan, Feb. 1976.

Total Time: 41:32

B+/four stars; an album of surprising diversity of quality in both composition and quality of song production. With
absolute highs and what feel like inexcusable lackadaisical efforts all gracing the grooves of the same vinyl release I
call this album a bit of a let down.

ANIMALS AS LEADERS Weightless (Tech/Extreme Prog Metal, 2011)

Fri, 8 May 2026 14:06:51 EST

Review by A Crimson Mellotron — A fabulous performance! Animals as Leaders followed-up their eponymous debut album with yet another
blazingly technical and rhythmically intense collection of futuristic progressive metal. 2011's
'Weightless' fits the djent tag quite properly, but this second studio album from AAL is even more
stylistically diverse than its predecessor, with the record exhibiting a strong propensity for
fusion playing and cryptic electronic interludes, topped by tons of complex time signatures and
dynamic tempo shifts. I do find this record very intense and energetic, and while its predecessor
had a somewhat mechanical feel, 'Weightless' is the first AAL album to be recorded as a trio, as
Tosin Abasi is joined by second guitar player Javier Reyes and drummer Navene Koperweis. The brain-
melting pace of the trio's playing is just one of the ingredients of this immaculate collection.

'Weightless' is an album that exhibits an impressive rhythmic range and a load of exciting ideas
that are developed beautifully over the course of the usually four-minute-long instrumental
compositions. And while this second album from the band does not offer a radically different sound,
it contemplates a compositional improvement over 'Animals as Leaders', a better production, and is
generally more experimental and eclectic. Highlights include 'Odessa', 'Somnarium', 'Isolated
Incidents', 'Do Not Go Gently' and the title track 'Wightless', but the majority of this record is
quite honestly very impressive and enjoyable, and shall satiate the ones hungry for fast-paced and
technical prog metal.

CRIPPLED BLACK PHOENIX The Wolf Changes Its Fur But Not Its Nature (Psychedelic/Space Rock, 2024)

Fri, 8 May 2026 13:32:30 EST

Review by Alexander6061 — I was completely stunned by this psychodelic rock record, I originally only heard the album because well look
at that awesome cover and name, however I enjoyed the hell outta this album, the heavy prog elements
combined with some great rifts and eerie psychodelic melodies make this album a great unique experience,
the highlight of said eerie melodies being the song "goodnight europe, part II" that also have great vocal work
by Belinda Kordic whose singing imo MAKES the song into my favorote of the album. Other standouts include
song for the unloved who starts as a very simple acoustic guitar melody and great raw vocals and slowly
develops into a heavy percussion and just escalates and escalates to a beautifull instrumental.

Must listen album imo

FRANK ZAPPA Joe's Garage, Acts II and III (RIO/Avant-Prog, 1979)

Fri, 8 May 2026 12:42:05 EST

Review by BrufordFreak — The continuation of the "story" begun with the September 17 release of "Act I." Released by Zappa Records on November 19, 1979. I'm going to be more thorough and attentive with this review than I was for "Act I" due to the higher quality of production value present here: the energy put into the composition and musicianship exhibited on this album are far more deserving of a serious review.

1. "A Token of My Extreme" (5:30) a song whose music, sound, performances, and enjoyability are all superior to anything/everything that was present on its "Act I" predecessor. I'm getting tired of the "Central Scrutinizer." (8.875/10)

2. "Stick It Out" (4:34) using German and poor Weird Al Yankovic near-polka music to make fun of the bane of all teenage boys: the irrepressible and spontaneous penile erection. Shouldn't we be above this? (8.5/10)

3. "Sy Borg" (8:54) another usurpation of the emergingly-popular Reggae medium for the expression of a satire of another emerging element of the commercial entertainment industry (for men): the sex toy. Rather tight musically, this sounds like a rebellion to the sexual revolution that Prince and so many African-American artists were igniting. The synth/electric guitar and electric piano work in the instrumental section are sublime. (17.5/20)

4. "Dong Work for Yuda" (5:03) opening with the Central Scrutinizer's narration displaying Frank's near-uncontrollable the story of John's "sausage that will break heart" is sadly just another potty humor penis song. Nice "Eyes Wide Shut" dinner theater and musique concr]]>�
5. "Keep It Greasey" (8:21) though made of impressive musicianship, the story, subject matter, and implied racial slurs therein are to me just more embarrassing representation of the lows that our species is capable of. I'm especially sad for Ike Willis' obvious parody/imitation of Jimi Hendrix and Sly Stone--and this with some of Frank's finest guitar shredding ever! (17.75/20)

6. "Outside Now" (5:49) continuing from "Keep It Greasey" with an introspective/reflective lyric and performance from Ike Willis (as the increasingly despondent guitarist-wannabe Joe and his decent into the confusion and of the Church of Appliantology) we get some of the album's most convincing and emotional music and performances as well as great sound. The feelings conveyed by the music and sound engineering definitely match the feeling of sadness and confusion being conveyed by Joe's lyrics (and Ike's performance). (9.25/10)

7. "He Used to Cut the Grass" (8:35) Joe tries to make meaning of a world in which "music has been made illegal." The "Black Napkins"-like musicscape is fitting of Ike's predicament as is the eccentric guitar solo from Frank in the front half of the song. Vinnie Colaiuta's drums, Patrick O'Hearn's fretless bass, and the dreamy Fender Rhodes chords all contribute to an "underwater" feeling that Frank's work as both guitarist and "Central Scrutinizer" do well to enhance. I feel as if I'm entering Los Angeles in Blade Runner's version of 2019! Wonderful! What an excellent job of transporting the listener to a complete imaginary realm. (18.667/20)

8. "Packard Goose" (11:31) funk bass and xylophone open this with a light up-tempo motif that becomes usurped by layers of rock guitar power chords as Joe and others sing about (lament) the degradation of music being caused by Rock 'n' Roll. The irony of the re-appearance of the bus girl from Act I to share with us the "truth" of the meaning of life is not lost on me--is obviously Frank's ultimate condemnation of all that 20th Century American pop culture is "doing" for the world--for the human race. There ensues thereafter a syncopated motif that Frank goes back to using his heavily-effected electric guitar to express his feelings without the use of words. Nice drumming in this section from Vinnie. The music here is not quite as befitting of the emotional message Frank is purportedly trying to convey. In the ninth minute Joe and the band return with some mixed-messaged music delivered from the "cosmic utensil" (toilet). Too bad. Perhaps this is the ultimately-perfect vehicle for the Doo-Wop music of the 1950s. (17.5/20)

9. "Watermelon in Easter Hay" (9:05) Frank as the Scrutinizer can barely keep his act together as he keeps cracking himself up as he tries to set up the delivery of Joe's "final guitar solo." The music is okay--plods along a little too spaciously, a little too slowly; the guitar solo a little too twangy and reverberated. Things improve at 3:57 when Frank switches to a completely different guitar tone--one that is to become quite iconic in the 1980s as many Metal artists adopt it for their own shredding (think Def Leppard, Bon Jovi, Whitesnake, and others). But then at the six-minute mark he chooses to return to the twangy tone of the first solo. Dommage. The underlying musical carpet is quite appropriate as a New Orleans-style funeral processional. (17.75/20)

10. "A Little Green Rosetta" (8:16) the final message from the Central Scrutinizer is as confusing as any of the previous ones though it does convey the idea that he's going to relinquish his narrator duties in lieu of "his normal voice" as he feels he has proved his point that music only causes trouble. Thereafter Frank and a choir of vocalists and partiers sing a little ditty of insanity over a semi-Caribbean-infused motif before Frank takes time out to try to correct the fact that the intention of his story might have left the many cultures in the Third World before turning to humorously single out and (kind of) thank his "good" musicians (Warren, Vinne, Steve, Ed). It's enjoyable--and certainly serves (unwittingly) as ear candy fun with which to end the expedition--but it's not very innovative or complex rock, prog, or jazz-fusion. It's glib and it's entertaining. (17.333/20)

Total Time: 75:36

B/four stars; an oddly wide-spectrummed collection of songs, music, and performances all offered as one of Frank's mirrors to the crazy inconsistencies and hypocrisies of our world.

KING CRIMSON The Power To Believe (Eclectic Prog, 2003)

Fri, 8 May 2026 12:22:14 EST

Review by A Crimson Mellotron — 'The Power to Believe' is undeniably one of the most significant studio releases from King Crimson,
and arguably their best work since 'Discipline'. The band's thirteenth studio album is both a
technically aggressive and disarmingly atmospheric collection that is heavily informed by the
predominant at the time progressive metal and post-industrial sound, as found within the output of
Tool, Nine Inch Nails, and even Ministry. Taking up the dense but fractured compositional nature of
'The ConstruKction of Light', this 2003 release is a more cohesive, driven and experimental-leaning
collection that features several extended ambient sections as well, which have almost always been
present in Crimson's more contemporary music. The use of electronic drums is quite interesting, too,
as we hear an extended emphasis on electronic and industrial sounds all over this album, blending in
swiftly with the angular riffs and occasional dissonance in the guitar work of Fripp and Belew.

In any case, what makes 'The Power to Believe' so special is the (perpetual) reinvention of the
Crimson sound and the overtly futuristic edge within the music. There is hardly anything in common
between this band and the one that had recorded the dream-like psychedelic opuses of the early 70s,
and this is to me absolutely brilliant. As for the album itself, about half of it is instrumental,
which is not uncommon for Crimson. There is an aggressive anxiety that penetrates the utter
complexity of the songs here, presenting a rather visionary approach to songwriting; one that has
certainly inspired the next generations of avant-garde and experimental bands. Stunning tracks like
'Elektrik' and 'Level Five', both of which would become staples of the band's live performances
during that time, counterbalance the strikingly atmospheric and lyrically charged numbers like 'Eyes
Wide Open' and the multi-part suite 'The Power to Believe'. Then the zany and surrealist tracks
'Happy With What You Have to be Happy With' and 'Facts of Life' work as brilliant references to the
band's 90s material, always with that Zappa-esque acuteness.

The entire album is a visionary exercise in composition, technical playing and existential
reflection, representing one of the monumental 21st century releases by King Crimson - a mandatory,
essential listen by all means.

RPWL Tales from Outer Space (Neo-Prog, 2019)

Fri, 8 May 2026 09:51:13 EST

Review by ArturZientalski — RPWL is a decent, average band playing music bordering on rock, classified as a semblance of progressive music. They've
never been good, or at best average ? but not every band can be good :) Usually, bands are average or weak. The art of
musicianship is a very difficult one, and few can master it. In my opinion, this is the band's best studio album, and
moreover, their most progressive and cohesive, while also being good and charming. Here, the band has reached their
creative peak and finally recorded something worthy of attention :) A 4 rating may be overstated, but it's a good album
and deserves appreciation :)

FRANK ZAPPA Sheik Yerbouti (RIO/Avant-Prog, 1979)

Fri, 8 May 2026 09:01:34 EST

Review by BrufordFreak — Released on March 3, 1979. It was the first album released on his own Zappa Records label (after leaving Warner
Bros).

1. "I Have Been in You" [Live *] (3:33) styled after 1950s-1960s pop music. (8.75/10)
2. "Flakes" [Live *] (6:41) styled after an older (late 60s) kind of music. I enjoyed the Bob Dylan imitation vocal
performance as well as the "I am a moron ... " passage and the Todd Rundgren-like instrumental finish. (8.75/10)
3. "Broken Hearts Are for Assholes" [Live *] (3:42) sounds so much like Todd Rundgren at his most rowdy-mischevious.
The music concr]]>�4. "I'm So Cute [Live - soundcheck *] (3:09) another parody (Why didn't they get Frank to write for Saturday Night
Live?!) drawing from acts like Little Richard and Meat Loaf. (8.667/10)
5. "Jones Crusher" [Live $] (2:49) a blues rocker that feels to me like anything and everything done by Alvin Lee, The
Tubes, Jimmy Vaughan, Rory Gallagher, or even the Rolling Stones. (8.75/10)
6. "What Ever Happened to All the Fun in the World" (0:33) musique concr]]>��7. "Rat Tomago" [Live %] (5:15) guitar soloing over organ, bass and drums. Sounds like Frank working out something
on his guitar that he'll use for future polished songs. It's just an excerpt from a much longer jam. He's a fine guitarist
but not every solo by even the greatest guitarists are perfect or hair-tingling. (8.75/10)
8. "Wait a Minute" (0:33) Terry and Patrick caught in conversation over music playing in the background.
9. "Bobby Brown Goes Down" [Live *] (2:49) great misogynistic fodder for pimply teenage boys of the privileged
classes. (8.667/10)
10. "Rubber Shirt" (2:45) excerpts of some (probably accidental) Weather Report imitation jam between Patrick and
Terry that clicked for a bit. (4.5/5)
11. "The Sheik Yerbouti Tango" [Live %] (3:56) organ and drums with Frank doing some more explorative soloing over
the top. He's getting ready for the "Shut Up and Play Your Guitar" era of his career--taking advantage of the rising
notoriety and acclaim for his guitar playing skills. (8.667/10)
12. "Baby Snakes" [Live *] (1:50) more weird entertainment for teenage boys. (4.25/5)
13. "Tryin' to Grow a Chin" [Live *] (3:31) a song that sounds like an Alice Bowie (Cheech and Chong) parody of Meat
Loaf's Bat Out of Hell rock opera. (8.6667/10)
14. "City of Tiny Lites" [Live *] (5:32) on this one vocalist Adrian Belew sounds like an over-the-top cross between Todd
Rundgren and Grand Funk's Don Brewer. Then Frank takes over with a solo using a new and awesomely-effected
guitar tone. The background layers of guitars could be him or Adrian or both. A lyric that is lost on me while the music
is among the most interesting (and most developed) on the album. (8.875/10)
15. "Dancin' Fool" [Live *] (3:43) a popular song of Frank's for its satirical light cast upon the Disco social-cultural
phenomenon. Musically, I find this a rather poor song--until the finish. (8.667/10)
16. "Jewish Princess" [Live $] (3:16) another snide social commentary built over some anachronistic music from the
1950s-60s. The xylophone and kazoo are the best parts. (8.667/10)
17. "Wild Love" [Live *] (4:09) a lyrics-based parody of the Hollywood world of Elvis et al. built over some cinematic film
music that is highlighted by Ed Mann's xylophone work and the Latin motifs used during the instrumental sections--
and then it just ends! Weird. (8.75/10)
18. "Yo' Mama" [Live *] (12:36) great opening palette and mood set that is spoiled when Frank and his musique
concr]]>�some aggressive and fairly-typical Zappa guitar soloing to play for nearly eight minutes before returning to the
opening motif for more of Frank's social commentary and "life lessons." The full band doing what it did. If this was an
example of the 1978 Frank Zappa concert experience (juiced up by studio manipulation) then I don't think I missed
very much. (22.25/25)

* Recorded at the Odeon Hammersmith, London , January 1978
$ Recorded at the Palladium, NYC , October 1977
% Recorded Live at the Deutschland Halle, Berlin , February 1978

Total Time 70:22

Apparently this album was mostly created from songs that were recorded in live stage concert performances (one
reviewer goes so far as to title his review as "The complete Zappa studio concert experience!"). It is quite tongue-in-
cheek humorous with many send-ups of older styles and artists. What would this album be without Terry Bozzio and
Patrick O'Hearn? (After the way Frank cut everybody in this band's line-up at the end of their European tour--leaving
several band members stranded on The Continent--perhaps this was meant as a backhanded tribute to the core
members--perhaps it was meant as mean-spirited slap in the face by their former boss.)

A 3.5 to four star musical listening experience that makes me feel that familiar "should have been there" feeling due to
the low impact of the album due to its non-visual, group-energy lack. If you want satirical entertainment or solid
samples of Zappa guitar playing (in the Shut Up and Play Your Guitar vein) this might be your jam. If you seek polish
and earnest decorum you should probably keep looking elsewhere.

QU�SAR Qu�sar (Symphonic Prog, 2023)

Fri, 8 May 2026 08:58:08 EST

Review by XixoTheRock — It's been nearly two years since Quasar's debut (self titled) album, and it still rocks! While the band has not
released a new record, they are still relatively active live and their gigs do not disappoint, they certainly are a set
of very talented musicians and have a great dynamic together.

Their album is an interesting journey, it feels sort of a child between camel and yes, the first track "Ser eterno"
(Eternal being) being an epic length track divided into section, has a frightening resemblance to close to the edge,
which means, very VERY high quality composition, the lyrics and vocals are not all that great but the album is
mainly instrumental, the musicianship is great and so are the compositions, which are white melodic, emotional
and complex, the track "C]]>�create music and rhythm, the album borrows a lot from classic symphonic prog, and it's very synth heavy, with its
best sections being those led by the synthesiser.

It also has small jazz fusion sections.

The production is great, the audio is clear and most instruments (the bass not so much) can be heard and
appreciated, it makes the album even more enjoyable.

Now comes the negative aspect, if the compositions are great, the production is clear and musicianship is strong,
why is this album not a 5/5? It doesn't feel like it has a big identity of its own, it's so similar to other prog bands,
particularly yes, that it can feel comfortable at times, it really doesn't add new ideas and experimentation into the
genre, feeling more like a modern homage to classic prog, the acoustic sections are also quite slow, uninspired
and almost copied from Steve Howe's style, not adding much that hasn't already been done, even the cover art
mimics that of Yes, with the band logo using almost the exact same typography as them, it's not all that special,
and although it will be enjoyed by classic prog fans (I certainly do enjoy it!), it's not a new, revolutionary proposal
to prog, and specially latin american prog, enjoyable album, but with very little identity of its own.

SCOPE Scope I (Jazz Rock/Fusion, 1974)

Fri, 8 May 2026 08:16:15 EST

Review by siLLy puPPy — Existing for a five year period from 1971 to 1976, the Dutch band SCOPE in many ways exemplified the
classic jazz fusion act of the 1970s drawing its influences from the usual energetic styled suspects
including Mahavishnu Orchestra, Return To Forever and Passport only blending its all instrumental
improvisational jazz with elements of progressive rock. Formed in Zwolle by keyboardist / flautist
Rick Elings and drummer Henk Zomer who stuck together after playing in their previous jazz rock act
Strange Power, the duo solicited the services of guitarist Rens Nieuwland and bassist Erik Raayman
who together released two rather rare albums in the mid-70s. This debut self-titled release emerged
in 1974 with the sophomore unit simply titled "Scope II" in the following year. A third effort would
eventually compile all the unpublished material in 2010.

This first SCOPE release is the more complex and uncompromising of the two with the second offering
more funk infused fusion while this debut focused more on technical wizardry that found the four
musicians playing tight knit fusion frenzies at quickened tempos laced with dizzying hairpin turns
and energetic soloing performances. One of the guitar driven fusion outfits, SCOPE was all about the
rock aspects as it was about dishing out the serious jazz chops. While the compositional flair was
set to jazz mode, the energetic delivery system was as feisty as the Mahavishnus and the additional
flute sounds added contemporary prog rock and folk flavors. Like many European acts, this side of
the pond had its own distinct vibe with sounds reflecting the developing of bands like Isotope and
Canterbury flavors from the likes of Soft Machine and others.

The album was recorded in Hamburg and in the process latched onto some of neighboring Germany's
hottest fusion acts of the day right at the peak of the jazz fusion frenzy and although to the
uninitiated SCOPE's debut may sound a bit too generic for its own good, the band actually fortified
its sonic wake with distinct virtuosic techniques which offered its own unique synchronicities
tucked away in the rather traditional approach. While the second album featured more funk-infused
compositions, the debut wasn't devoid of such ingredients especially on select tracks such
as"Kayakokolishi" which provided some merciful relief from the incessant technically challenging
high brow fusion-fest moves that the band was more than adept at dishing out. Every musician was a
seasoned performer and like many such bands sounded as if it had existed for years of daily practice
before finally laying down its ideas onto recordings.

It wouldn't be a complete fusion album without some serious saxophone squawking and guest performer
Jochen Petersen stepped in to offer those supplemental sounds. While i wouldn't call SCOPE's debut
the most creative fusion album to emerge from the era as that distinction surely must apply to Frank
Zappa, the Mahavishnus, Return To Forever or the likes of Herbie Hancock and Miles Davis, what SCOPE
did deliver is an addictive aural assault of top level European fusion firing on all pistons.
Stocked with plenty of mood shifts, tempo changes, time signature excess and moments of reflective
contemplation, SCOPE was a master of its trade leaving no room for filler or second rate material.
Rendered obscure throughout the decades simply due to the glut of excellent similarly minded bands
that existed simultaneously, SCOPE certainly deserves all due respect and resurrection from the
bottom of the pile and luckily has found a proper reissue on the Sireena label in 2020 on CD with
bonus tracks. Not a dull moment on this one for fusion fans.

SAGA To Whom It Concerns (Symphonic Prog, 1979)

Fri, 8 May 2026 08:15:57 EST

Review by siLLy puPPy — SAGA is a progressive rock from Canada. What? Oops, wrong one. SAGA was a psychedelic prog band from
Sweden in the 70s. Not the one? Try again. SAGA was a progressive rock act from 1970s Portugal?
Still wrong? Geez! Yeah there have been literally dozens of bands with this name throughout the
decades but for some reason an easy go to moniker for prog bands. Well here's yet one more SAGA only
this was came from the Netherlands formed in Amsterdam in 1975 and disbanded in 1983 releasing its
sole album TO WHOM IT CONCERNS in 1979. Apparently oblivious to the more famous Canadian act, this
obscure band was actually very prescient in prognosticating the neo-prog 80s by advancing the
symphonic prog sensibilities of Genesis' early works like "Foxtrot" and "Selling England By The
Pound" a few years before bands like Marillion and IQ even came into existence.

This band featured a bunch of unknown musicians including guitarist Jos Wernars, bassist Ernest
Wernars (apparently brothers), keyboardist Guido Goebertus, drummer Alex Eeken and lead vocalist /
percussionist Paul van Velzen. This rarity appeared on the UAP label and has been pretty much
forgotten at least until the Paisley label finally remastered it on a CD format but even in the
modern prog revival turning of every stone, this SAGA remains relatively off the radar of even
symphonic prog stalwarts looking for the next fix. The wonderful thing is that despite its obvious
Genesis worship, TO WHOM IT CONCERNS is surprisingly a very intricately and beautifully designed
album that may have been a fish out of water in the relatively prog free year of 1979 but as a
revival / retro act SAGA really did its homework by crafting five effective tracks that tracked all
the expected Genesis-isms in a very convincing way and not as clone-like as perhaps Starcastle was
to Yes.

As time has gone by though and intrepid prog sleuths have been sniffing out every possible trace of
influence for modern sounds that have become common place, there's no argument that SAGA served as a
proto-neo prog act that tackled the "Foxtrot" style of the Genesis classic and forged it ahead a few
notches as a veritable fluffer for the likes of Marillion, Twelfth Night, Pallas and the other early
British neo-proggers to take notice of. Of course SAGA was not the only one with Germany's Anyone's
Daughter and the Florida based Babylon also taking the same approach. SAGA was without doubt the
earliest of the neo-groups to emerge in the Netherlands predating the early neo-prog Arkus which
wouldn't release an album until 1981. The music is highly symphonic and complex as one would expect
with lots of acoustic guitar parts and varying motifs that engage in stylistic shifts and
atmospheric cadences that are based in a complex melodic tapestry of contrapuntal effects.

While the first two tracks are on the shorter side of things, the final three tracks all hover
around the 10-minute mark with lush synthesizer layers courtesy of the Hammond A3 organ. Piano, ARP-
Axe and mellotrons. Van Velzen also stands out as a unique vocalist in this style as he sounds
nothing like either Peter Gabriel or the neo-prog vocalists that followed therefore SAGA is a unique
entry in the transition from Genesis inspired symphonic prog to the 80s neo-prog scene. I know it's
sacrilegious to say this but "Nursery Cryme" and "Foxtrot" have never really floated my boat and i
have never really been able to detect exactly why which makes it odd that i actually prefer Genesis
inspired bands like Babylon and this SAGA better than those albums themselves! While many hardcore
Genesis fans will find this too close to the parent tree but quite pleasing for those of us who
aren't so staunchly rigid about such things, i find SAGA's one and only album to be much more
stimulating than Genesis in many ways as SAGA is more daring and experimental and seems to gel in a
way that early Genesis didn't. This one is totally worthy of rediscovery and a beauty of a
transitional album from the 70s to the 80s.

BRAINBOX Brainbox (Proto-Prog, 1969)

Fri, 8 May 2026 08:15:31 EST

Review by siLLy puPPy — Best known as the launching pad for future Focus members guitarist Jan Akkerman and drummer Pierre
van Der Linden (and perhaps the cool album cover art that really evoked the zeitgeist of the late
60s), the Amsterdam based BRAINBOX was an influential progressive blues rock band that mixed the
blues rock sensibilities of bands like John Mayall's Bluesbreakers with folk music and the
psychedelic rock styles that dominated the latter half of the 1960s. Although the band was active
from 1968 to 1972, the only album anybody really remembers is this self-titled debut that appeared
in October 1969 at the dawn of the progressive era and one of the lesser acts that existed when King
Crimson, High Tide and others were ushering in the more adventurous progressive rock era.

Cited as one of those key proto-prog releases, BRAINBOX sounded a bit like The Who with vocalist
Kazmir Lux sounding a bit like Roger Daltry except the band had one foot in the psychedelic 60s and
another slightly in the future world of prog especially with the 17-minute closer "Sea Of Delight" a
sprawling psychedelic jamming session that offered a lot of room for exploration of extended tones,
textures and meandering musical motifs. Another viable comparison might be The Groundhogs with its
blues based approach only with progressive liberties thrown in for good measure. The band was a
foursome with the final member Andr]]>�Netherlands with three singles: "Down Man," "Sea Of Delight" and "Summertime" all cracking the Top
30 on the Dutch charts.

While the band tailored a very distinguished sound and stood out as competent as any other with a
nice array of diverse tracks, the BRAINBOX debut is a bit of a mixed bag though. The album opens
with the strongest track on board, the instantly catchy and powerful "Dark Rose" is one of the only
originals to appear leaving the majority of the album cover versions of songs ranging from Simon &
Garfunkel's "Scarborough Fair" to the George Gershwin "Summertime" from the opera "Porgy & Bess."
"Dark Rose" gives a glimpse of the future Focus sounds as it includes guest flautist Tom Barlage.
Lesser known cover songs include Jimmy Reed's "Baby, What You Want Me To Do" and Lowell Fulson's
"Sinner's Player" which emphasize more of a pure blues rock tribute to traditional blues masters.
Reissues have found even more of these blues covers featured as bonus tracks.

Both Akkerman and Van Der Linden left shortly after the release of this album and launched Focus
which would become one of the top Dutch progressive acts of the era. Despite their departure
BRAINBOX remained popular in the Netherlands despite a series of musicians coming and going. As for
this release it's not as bad as some reviews would leave you to believe. It's a solid release of
above average blues rock with early prog touches. Even the sprawling jam session of "Sea Of Delight"
is pretty good despite the ill-fated drum solo that could've been edited out. While BRAINBOX showed
few signs of giving birth to Focus on this debut release, it stands as a competent slice of blues
rock in its own right and like Vanilla Fudge did a rather remarkable job in owning the cover songs
presented. The weakest aspects for my ears are the more faithful blues covers as i would have loved
to hear a whole album similar to the opener "Dark Rose" which reminds me of what the band Faces with
Rod Stewart would sound like. As it is, it's a strong enough album if not the best the era had to
offer.

3.5 rounded down