Reviews (all) - Progarchives.com

TRANSATLANTIC Bridge Across Forever (Symphonic Prog, 2001)

Wed, 7 Oct 2026 15:35:31 EST

Review by martindavey87 — Released in 2001, 'Bridge Across Forever' is the second album by progressive rock supergroup Transatlantic. Featuring
members of prog heavyweights Dream Theater, Spock's Beard, Marillion and The Flower Kings, this album comes out just
one year after the release of their debut, and despite all still maintaining positions in the own respective, fulltime bands,
there is a very palpable and effortless chemistry between everyone involved.

With four songs totalling at almost one hour and 20 minutes of music, this is an ambitious project, and will indeed take
multiple listens to familiarise yourself with it all. There are so many twists and turns, every track is a journey through
various musical ideas and themes, that it's just a matter of putting in the time.

As you'd expect with musicians of this calibre, the performances and writing are of a high standard, and all four men
doubling up on vocal duties keeps the songs sounding fresh and interesting. With particular highlights including tracks
such as 'Duel With the Devil' and 'Stranger in Your Soul', 'Bridge Across Forever' is a worthy addition to any prog collection,
and firmly establishes Transatlantic as more than just another side-project.

IQ Are You Sitting Comfortably ? (Neo-Prog, 1989)

Wed, 7 Oct 2026 15:20:37 EST

Review by BrufordFreak — The band's fourth studio album, second with singer Paul Menel at the microphone--plus they have the enlistment of
Noel McCalla (Smallcreep's Day, Acting Very Strange), which excites me. All the names (except Paul's) are familiar to
me. A February 1989 release, let's see what they've got for us!

1. "War Heroes" (6:26) so what's wrong with Paul Menel's voice!? He sounds like any/every IQ singer--and he's
definitely not bad. He holds pitch, he displays an appropriate level of emotional engagement with the lyrics and music.
(8.875/10)

2. "Drive On" (4:57) like one of the "B" songs from a 1980s Genesis (or Phil Collins) song, very typical of music in the
1980s. Not bad, just . . . familiar. (8.75/10)

3. "Nostalgia" (2:22) the instrumental intro to "Falling Apart ?" is quite Steve Hackett-ish--even down to the basic
alternating-two-chord construction. Nice guitar work. Classic NeoProg/Genesis/Hackett bombast. (4.875/5)

4. "Falling Apart at the Seams" (7:47) theatric and quite proficient. What are the criticisms of this band and album? This
is as high quality NeoProg as I've ever heard (though I am by no means a fan or flaming advocate of the sub-genre). In
the context of everything/anything I've ever heard from this band, this stands up there with any/all of it; if you're
Genesis/NeoProg fan you've got to love this! Mike Holmes' guitar work and the overall sound palette and mix are quite
extraordinary! (13.667/15)

5. "Sold On You" (4:40) another typical 1980s offering that sounds like it came from Genesis or Mike + The Mechanics'
"All I Need Is a Miracle" only with slightly proggier (and better) instrumental performances. The lyrics are just as cheesy
as anything from the era. (8.875/10)

6. "Through My Fingers" (5:30) yes, that's Tony Banks taking on the BLUE NILE sound and style, only, like everybody
else on the planet who loves and admires the band, they are unable to slow it down and strip it down to the degree
that the Scots do. And we have yet another very solid performance from Paul Menel. (8.875/10)

7. "Wurensh" (9:37) a prog-oriented band's obligatory "epic," this one plays out like a 1980s Genesis tune. I mean:
exactly! Even the guitar arpeggi and syncopated bass and drum rhythm play is straight out of a Phil-Tony-Mike jam
attempt. Granted, this is Paul Menel's weakest vocal performance on the album--partly do to the way his voice is
mixed back into the soundscape, partly due to the fact that the band really didn't give him much to bite into. Great
guitar work from Mike Holmes in the fifth minute. Plus, it is quite obvious that the band wanted this one to kick into
symphonic-Yes-like territory--and they almost do; they just forgot to include/account for the importance of the lyrics,
message, and vocal performance. Despite the flaws, I find it interesting to hear so much of Dutch NeoProg band
KNIGHT AREA's Under a New Sign in this. Like my disappointment in Wobbler upon finding that their magnificent
sound and melodies on 2011's Rites at Dawn had come from (almost directly lifted from) both Yes (Close to the Edge)
and Gentle Giant's debut album. (17.5/20)

8. "Nothing At All" (4:46) a solid representation of a pop-friendly prog song coming from a prog or even "classic rock"
hair band of this era. Nothing to complain or get angry about as it is simply a purely-perfect represent of the popular
music of the day. Fine performances all, plodding along as they all did at that time, with the same sound palette and
pristine sound engineering of the day that everyone switching into the digital world were producing. (8.75/10)

Total Time: 50:52

Despite my love of Genesis' two 1976 studio albums (from which all things "NeoProg" came), I really don't know this
band very well: though I've listened to pretty much every album they've ever made, I've never really felt "won over" by
their achievements. Their sound palette doesn't repel me: it's rather warm and comforting; their vocalists or musicians
and soloists always seem proficient and competent, their compositions aren't poor or repulsive. I think they're just . . .
okay--very much like a 1980s Genesis song/album: Nice to listen to but nothing that will bring me back--nothing that
wow's me as "That's new!" or "That's fresh!" Are You Sitting Comfortably represents, for me, a perfectly fitting and
high-quality Genesis-like pop-friendly NeoProg of its day; nothing more and nothing less.

B/four stars; a very solid, highly-respectable NeoProg album.

CYDONIA Stations (Neo-Prog, 2022)

Wed, 7 Oct 2026 14:14:50 EST

Review by tszirmay — This one came out of the blue, thanks to the ever present and hyper-active PROG ROGUE Research and
Reconnaissance Department's irascible determination to seek out new nuggets of proggy bliss. The Freiburg
based band has some seasoned musicians who have a communicative style, maximizing on emotional delivery
and instrumental dexterity. The tracks are exceedingly melodic, quintessentially adventurous in that they combine
ornate passion with gritty exaltation and raised my tired eyebrows more than once, and on each track! I went
through this once while driving for work and I caught myself stopping a few times to marvel at my good fortune.

The opener "Way to Cydonia" initially does open on a martial pulse, serving to assert the musical qualities of the
players, what with the crunchy guitars and riffling keys but the mood immediately changes when the perfidious
bass and smacking drums set the stage for the convincing vocal line, piano in tow as the arrangement expands in
scope and sinks deep into the mind. The soft middle section is achingly beautiful , the piano and voice (lead and
harmony) elevating to the choral melee with the tortuous lead guitar carving menacingly , as the rhythmic fury
reaches a paroxysm. 'Sturm und Drang'!

Now, here was the clincher! The next piece "Where is the Silence" was where I halted the first time on the
autobahn, a delightfully melancholic, crushingly poignant tune that coalesces that stunning piano and elegant
voice into an aural embrace verging on restrained perfection. A hymn for our times and a panacea for the soul.
'Ausgezeichnet'!

The epic "Union of Souls" clocks in at 14 minutes + and falls into that classic progressive mold that elects to take its
time in developing structure whilst telling an adventure. The initial section is measured in mellow despondence ,
until that moment where the atmosphere moves to a higher instrumental plain with a plaintive acoustic guitar
phrasing at first, then a slowly expanding bass line, distant keyboard panting, marshaling drum beat and echoing
pools of keys. When the volatile fury arrives, its purely orgasmic, a sizzling guitar streaks the sky, with mellotrons in
tow. When singer Michael Bernauer clutches the microphone, his elegiac delivery veers from sullen to accepting.
Majestic, powerful, lush and utterly moving. 'Wunderbar'!

As proof of their professionalism, the band opts for two live tracks, which can be a risky move in some instances,
but not here. On the contrary, the public display stamped this immediately with all the credentials need for a
pentagon award. "Caravan of Slaves" begins with applause and military snare with thunderous percussives, as the
caravan wanders into the sandstorm. Twirling synths and snake guitar lines serve up the Middle eastern theme
perfectly, switching into a sweltering mini-jam session where each member is introduced on its instrument, the
rotund bass guitar killing it as it rumbles over the dunes, aided by oasis guitars, palm tree keyboards and
dromedary thumping drums. When they all coalesce into one musical pyramid, it's a pure joy to behold. I stopped
again on the motorway as the word fun came to mind, or in German: 'Viel Spass'!

The second live track "Already There" has a ghostly Floydian feel, with effect-laden voice in the hazy spotlight, a
desperate whisper along with a doleful plea within a whopping melody and chorus that welds deep into the mind.
Clanging guitar and Masonian beat keeps the mood reflective, spooky Wright keys and a fine electric guitar foray,
right out of the Gilmourian manual. The harrowing vocal finale is simply devastating! 'Schon da'!

I enjoyed this from the very first audition and subsequent revisits have only served to solidify my impressions!
After all, both the Rogue and the Laz cannot be wrong at the same, that would be 'unm]]>�bitte!

4.5 Martian Craters

KING CRIMSON In the Court of the Crimson King (Eclectic Prog, 1969)

Wed, 7 Oct 2026 13:05:17 EST

Review by DimitrisTheHead — There has been a big amount of albums that came before the King Crimson debut album "In court of the crimson
king", that helped the shaping of the genre we call progressive rock. But it was this album that made waves and set
the standards for progressive rock music for the years to come.

The first album that it wasn't bluesy at all, but instead it was heavy and dark. The opening track "21st century schizoid
man" sounds exactly like what you would expect to hear by only looking the album cover. Someone could say it
sounds almost like Heavy Metal. The frantic last part of the song leads to the next song "I talk to the wind", an ethereal
prayer, where the band shows its' softer side. The first side of the record, closes with the timeless epic classic
"Epitaph'. Simply one of the best songs ever written, generally in music. "Moonchild" opens the second side of the
record and it's a spellbinding tune, with majestic sounds from Ian McDonald. The haunting last part of the song, with
the distant sounds, it's the perfect prologue for the closing track of the album, "The court of the crimson king", a
medieval-like epic.

"In the court of the crimson king" is a cornerstone of progressive rock, and if you ask me, King Crimson never matched
it. Glorious.

PROCOL HARUM A Salty Dog (Crossover Prog, 1969)

Wed, 7 Oct 2026 12:30:58 EST

Review by DimitrisTheHead — The third album of my beloved Procol Harum, "A salty dog". The last one with Dave Knights on bass guitar and the last
one as well with Matthew Fisher on keys, who he also did the production on this one.

Now, "A salty dog", is a much more laid-back record than the two previous of the band, yet is so so beautiful. Mostly
blues-based with a progressive direction, and always having the distinctive Procol Harum sound, meaning piano and
voice driven.

When Gary Brooker first performed the piece "A salty dog" on piano, the room was filled with sunlight shining through
the windows. The drummer, B.J. Wilson, with a sunbeam on his face, told Brooker he thought it was the most beautiful
song he had ever heard. Gary Brooker delivers some vein-cutting vocals throughout the album. Matthew Fisher did
the lead vocals on three tracks on this one, "Boredom", "Wreck of the Hesperus" and "Pilgrim's progress". The track
"Crucifiction" is a lament with ripping lead vocals provided by Robin Trower.

A really beautiful album, closing a chapter for Procol Harum.

BEYOND TWILIGHT For the Love of Art and the Making (Progressive Metal, 2006)

Wed, 7 Oct 2026 11:34:32 EST

Review by UMUR — "For the Love of Art and the Making" is the third full-length studio album by Danish power/
progressive metal act Beyond Twilight (if you discount the two Twilight albums as the works of
another band). The album was released through Massacre Records in April 2006. It]]>�"Section X" from March 2005. There has been one lineup change since "Section X" as lead vocalist
Kelly Sundown Carpenter has been replaced by Swedish singer Bj]]>�
"For the Love of Art and the Making" is quite an interesting release as it]]>�minutes long composition broken down into 43 sub tracks. Stylistically it]]>�power/progressive metal style of the preceding releases and as Jansson is a suitable and not too
different sounding replacement for Carpenter, the change on the lead vocalist spot doesn]]>�much in terms of consistency of the band]]>�Art and the Making" a very different listening experience though as the tracks form only short parts
of a longer track, they don]]>�
It]]>�between a heavy power/progressive metal oriented approach and more subtle and mellow parts. A normal
verse/chorus structured composition wouldn]]>��develop ideas over the course of a longer playing time. Here the short track lengths mean that ideas
are executed fast and they flow by even faster. I]]>�because sometimes I feel Beyond Twilight could have done a lot more with some of the parts, but at
that point they have usually already moved on to the next section.

So, although "For the Love of Art and the Making" is a both well produced and well performed
release, the songwriting approach will probably divide the waters. There]]>�here but as an album I]]>�my ears it]]>�Love of Art and the Making" as a single coherent composition doesn]]>�to the album. The song is constantly disrupted and changes gears and dynamics and it]]>�bit stressful to listen to. When that is said "For the Love of Art and the Making" is still a high
quality release, but I]]>��(70%) rating is deserved.

(Originally posted on Metal Music Archives).

SUPERTRAMP Crime of the Century (Crossover Prog, 1974)

Wed, 7 Oct 2026 10:01:39 EST

Review by Abrasmatheus — Crime of the Century is an album that manages to balance the accessibility of pop rock with elements of
greater musical complexity. Although it is often associated with Progressive Rock, I see it more as a
progressive pop rock album, using progressive elements without fully committing to the more complex
characteristics of the genre. This is especially evident in tracks such as "School" and "Rudy", which feature
more elaborate structures and development.

One of the album's greatest strengths is precisely this balance between melody and sophistication. The
songs are quite accessible, but they never feel simplistic. There is clearly a lot of attention to arrangements,
dynamics and development, allowing the album to work both as a collection of great melodies and as a
record with plenty of interesting musical details.

Among the tracks, "School" is one of the major highlights, with an excellent combination of atmosphere,
instrumentation and development. "Hide in Your Shell" is also one of my favorites and, in particular, one of
the tracks that best represents what I find special about this album. "Bloody Well Right" and "Asylum" are
also excellent, while "Dreamer", despite being a very good song, takes a more direct and accessible
approach.

The instrumentation is another strong point. The saxophone is particularly distinctive and contributes
greatly to the album's identity. The keyboards also play an important role, although I find the saxophone
more impressive overall. The drums are very well played, while the guitar and bass are effective without
necessarily being the instruments that stand out the most.

But the biggest vocal highlight is undoubtedly Roger Hodgson. His voice has a very distinctive character and
is immediately recognizable. His high register and particular way of delivering melodies give Supertramp an
identity that I find difficult to compare with other bands. The vocal melodies are excellent and are probably
among the strongest aspects of the entire album. Rick Davies also delivers very good vocals, but Hodgson's
voice is more memorable to me.

The production has aged extremely well. The mixing is excellent, and the instruments are very clearly
defined, allowing each element to be heard without difficulty. The album has a very balanced sound and
still works remarkably well decades after its release. A particularly interesting production moment is the
final section of "Asylum", which creates a very engaging atmosphere.

I also consider the themes of the album to be important. There is a predominantly melancholic atmosphere
connected to the human and social issues addressed throughout the songs. Subjects such as education,
isolation and other recurring social problems appear in different forms. The title Crime of the Century itself
can be interpreted as a criticism of the problems created by society and the kind of prison that society can
impose on individuals.

The cover reinforces this idea very effectively. The image of what appears to be a prison fits the
atmosphere of the album and can be interpreted as a symbolic representation of society and the
limitations it imposes. It is a cover that I consider extremely appropriate for the album's content.

Despite its qualities, I do not consider Crime of the Century one of the greatest examples of Progressive
Rock in the strictest sense of the genre. Its historical importance is significant, but I believe there are many
albums that are much more progressive and representative of the genre. For this reason, I would not
necessarily recommend it as an introduction to Progressive Rock. It can work very well as a bridge between
rock/pop and progressive music, but there are bands with much more complex approaches and much
stronger connections to the genre.

I also do not consider the album particularly innovative in terms of progressive music, although it contains
some interesting ideas and has a very strong individual identity. In fact, one of the most difficult things
about it is finding other bands to compare it with, since Supertramp has a very distinctive sound of its own.

Among its strongest points are the very well-defined instrumentation, especially the saxophone and
keyboards, Roger Hodgson's vocals, and the themes behind the songs. I do not see many significant
weaknesses in the album. My main reservation concerns the final tracks: although they are good, I find the
first part of the album stronger and more memorable. "Crime of the Century", the title track, is the song
that impresses me the least, although I still consider it a good composition.

Overall, I consider Crime of the Century a very good album, with an excellent balance between accessibility,
strong melodies, sophisticated instrumentation, distinctive vocals and social themes. The opening tracks,
especially "School" and "Hide in Your Shell", are among its greatest highlights, and the production remains
impressive.

It is not, for me, an essential Progressive Rock album in the strictest sense of the genre, but it is a high-
quality record with a very strong identity. Its ability to naturally combine pop rock with progressive
elements is precisely what makes it special.

REDEMPTION The Fullness of Time (Progressive Metal, 2005)

Wed, 7 Oct 2026 07:35:39 EST

Review by Hector Enrique — The progressive metal movement, whose foundations were first laid in the mid-to-late 1980s by pioneers such as
Queensr]]>�eventually expanding and establishing itself as a fully-fledged genre in the 2000s. Redemption belongs to the group of
bands that emerged under that inspiring influence, shaping a powerful and virtuosic musical approach, immersed in the
intricate structures of the most contemporary prog metal.

With their self-titled 2003 debut album, Redemption had already shown what they were capable of, although it was still a
somewhat raw and unpolished power-metal-style offering with nascent progressive elements. For "The Fullness of Time"
(2005), their second album, the band led by Nick van Dyk brought in the duo James Sherwood (bass) and Chris Quirarte
(drums), both from the ranks of the Los Angeles-based band Prymary, as their new rhythm section, and, most
importantly, vocalist Ray Alder -who also fronted Fates Warning- evolving toward a more defined and mature sound.

The first third of the album retains the band's seminal sound, with machine-gun-like, galloping riffs; frenzied,
counterpointing solos between Bernie Versailles and van Dyk; and Quirarte's wild double-bass drumming, to which van
Dyk's keyboards add an additional, fitting melodic and atmospheric layer, both on the aggressive "Threads," the fast-
paced "Scarred," and the reflective and bitter "Parker's Eyes" -which offers a somber and disheartening view of the world,
including a reference to the events of 9/11- and incorporates a beautiful, arpeggiated acoustic nuance before exploding
instrumentally.

The following two-thirds reflect the band's solidity and progressive character, with the epic "Sapphire", a powerful and
expansive instrumental tapestry led by a spirited Alder on vocals and generous with guitar and synthesizer solos,
contrasted with calm, refreshing passages -the jewel of the album- and the intricate "The Fullness of Time," a suite divided
into four sections where journeys through rocky peaks -the furious and vengeful "i. Rage" and the resilient "iii. Release"-
alternate with clear, evocative sonic valleys -the meditative "ii. Despair" and the hopeful and luminous "iv. Trascendence".

"The Fullness of Time" marked a turning point in Redemption's career: an album in which the band left behind the rough
edges of its debut to find its own identity, delivering one of the genre's strongest offerings of the mid-2000s.

4/4.5 stars

DREAM THEATER Lie (Progressive Metal, 1994)

Wed, 7 Oct 2026 05:18:34 EST

Review by martindavey87 — Arguably one of the more radio-friendly hits from Dream Theater's 1994 album, 'Awake', 'Lie' is a groovy, riff-laden rocker
that has some fantastic vocals and great instrumentation. After the success of 'Pull Me Under' a couple of years earlier,
this track was probably the best choice for appealing to mainstream rock and metal fans, so its choice as a single is more
than justified.

Additional tracks include the ballads 'Space Dye Vest', which is keyboardist Kevin Moore's hauntingly beautiful swansong
with the band, and one of many different recorded versions of 'To Live Forever', a song the band had played live for many
years prior to this, but had never gotten around to recording a studio version of.

As well as a live recording of 'Another Day', this is a pretty decent CD single for collectors and die-hard fans of the band.

DREAM THEATER Images and Words - 15th Anniversary Performance (Fan Club CD 2007) (Progressive Metal, 2007)

Wed, 7 Oct 2026 04:39:18 EST

Review by martindavey87 — Released in 2007 through the bands official fan club, 'Images and Words 15th Anniversary Performance' is literally what it
says it is; Dream Theater playing the entire album that forever set the standard for all progressive metal bands to follow.

Of course, it has its pros and cons. There's some interesting embellishments dotted around, which could keep us prog
nerds at least somewhat invested for a little while, and it's cool to hear Jordan Rudess interpret some of Kevin Moore's
keyboard parts. Then of course, there's vocalist James LaBrie. Sure, he struggles with some of it due to age and a well-
documented vocal injury, but I guess at least he's trying.

The band would go on to release a 25th anniversary performance of this album through their 'Lost Not Forgotten' series
many years later, so, you know, it's probably slightly better than that one, again, due to LaBrie being another ten years
older by then and struggling even more. Bless him.

I don't think I'd ever choose to actually listen to this over the original 1992 studio album, which, for the record, is my
favourite album of all time. But the name of this release describes exactly what you're getting here, so there's absolutely
no point in taking it too seriously. It's a cool addition to the collection, and if you're a die-hard Dream Theater fan like I
am, then you'll enjoy owning it. Simple as that.

BOARDS OF CANADA Hi Scores (Prog Related, 1996)

Tue, 6 Oct 2026 19:29:30 EST

Review by Logan — Going back to Hi Scores after spending much time with the heavy, dark sound of Inferno acts like finding an old, clean blueprint before it got weathered. This 1996 EP finds the Sandison brothers at a time when their geometric tracking methods were still sharp and exposed, before getting heavily into deep analogue erosion. It occupies a unique place in their discography, throwing out the fragile sentimentality of their later records. It sounds like a raw, intense sonic
environment rather than a piece of electronic escapism. It follows an internal logic that matches how my own mind wants to navigate structure, maintaining an unbroken hold throughout the short-form layout.

The record starts off with the clinical drive of the title track, "Hi Scores". Spending time with their wider catalogue highlights how unique this upfront electro-funk grid is. Originally released on Manchester's experimental Skam label, it sets up a stark, unpolished baseline belonging to the sharp mathematical grids of the mid-nineties IDM scene rather than a cozy childhood memory. It reveals a naked skeletal frame, showing their basic programming choices before they began burying their arrangements in rich, atmospheric grime.

The sequence drops immediately into "Turquoise Hexagon Sun", which remains a deeply resonant track. Knowing how this piece functions later on Music Has the Right to Children makes its placement here feel even more striking. It introduces the loop-based geometry and hexagonal motifs they would keep referencing for decades. Yet, for all its melodic layers, it holds a weird, slightly unsettling friction. It is a track I routinely turn off when the kids are around, since the underlying textures feel less like a comforting memory and more like a displaced, menacing transmission.

Because I know the organic transitions of Music Has the Right to Children inside and out, what happens next forces a mental gear-shift. Instead of a soft fade, the drop into "Nlogax" is a sharp, jarring choice that feels almost surgically implanted into the record. The track triggers a heavy physical response in my system; the microtonal dissonance and aggressive, detuned synth hook warp the stereo field until it gives a genuine sensation of vertigo and physical nausea.

Without giving a chance to recover, "June 9th" steps straight out of that pitch instability and into a state of sensory hyper-vigilance. By layering skittering, fast percussion elements over a lagging breakbeat and burying muffled melodies under a massive low-end thrum, the duo compresses the perception of space, locking my senses inside a claustrophobic acoustic panic room. While playing this track, I found myself comparing its complex, cinematic logic to The Future Sound of London's 1994 masterpiece, Lifeforms. Both share that same uncompromising, alien architectural layout that rejects simple dancefloor trends. On a surface listen, Hi Scores can seem far more disjointed than it actually is, but sitting immersed in this middle section shows how every single segment serves a rigid purpose. There is no randomness here.

The sheer intensity of these tracks left me blown away. I was deeply wowed by the experience, and it is fascinating to realise that this personal state of shock links directly to the literal mechanical wow and flutter effect running through the tape machines. The severe pitch warps build an environment that is intensely suffocating, forcing a raw, physical confrontation across my enteric nervous system.

The record begins to rewire my neural pathways during "Seeya Later". Having tracked its connection back to Twoism, I notice how it works on an interesting psychological plane here, utilising heavy, drifting synth pads to tie the upfront grooves to the end of the record, pulling my brain down into a heavy twilight trance.

The closing slot belongs to "Everything You Do Is a Balloon", which serves as a definitive thesis statement for their subsequent discography. In this non-sentimental context, however, the track offers little safe haven or comforting relief. It feels off-kilter and stripped of safety, trading easy nostalgia for an overwhelming, earth-shaking sonic power. Starting with that fragile, beautifully melancholic synth melody before dropping into a heavy, slow-motion hip-hop breakbeat, it functions not as a comforting exit, but as a towering, visceral climax that carries the electro-acoustic DNA that would decades later anchor the dense harmonic textures of The Campfire Headphase.

Ultimately, Hi Scores stands as an uncomfortable five-star masterpiece, acting more like a raw template for psychological disruption than a standard piece of auditory expression. Spending time with all of their albums only reinforces how essential this blueprint is. I so appreciate and deeply experience absolutely everything on this record, and it sits as something perfect for my specific internal architecture. In fact, this is a six out of five star release for me. It is intense, it is disorienting, and it is utterly brilliant.

BOARDS OF CANADA Music Has the Right to Children (Prog Related, 1998)

Tue, 6 Oct 2026 19:26:03 EST

Review by Fercandio46 — It is no coincidence that many electronic music artists draw inspiration from the past, specifically the 1970s. The
British duo Boards of Canada creates a sound that feels progressive in an electronic sense, much like the
Norwegian duo R]]>�purpose: to evoke moods and suggest mental images or ideas that often transcend mere musical concepts. The
cover of their debut album, Music Has the Right to Children, always struck me as very retro, very 1960s, yet upon
closer inspection, much like a painting bearing an artist's signature, one discovers that the figures lack actual faces.
They are blank slates, leaving the viewer to imagine what lies within. "An Eagle in Your Mind" offers a magnetic
groove, featuring a downtempo rhythm with a strong, minimalist trip-hop foundation. The track combines an
organic drum feel with the presence of both samples and scratching, making it highly appealing and modern; it also
reminds me of another underground classic, Vernon Reid's first solo album, Mistaken Identity (1996), which blended
heavy guitar work with electronic elements and featured DJ Logic.

Short tracks like "The Color of the Fire" reminded me, in the spaces between the longer pieces, of the intros on
Gong's Angel's Egg, as well as the poetic ambient atmospheres of Brian Eno. The use of analog synthesizers also
draws a parallel to another electronic duo, the French group Air, and in "Telephasic Workshop," we can observe
how two parallel paths, traced by Michael Sandison and Marcus Eoin respectively, overlap: one line is a steady,
unwavering, and steadfast drone, while the other plays solos and varies, confident in the support of its stable
counterpart.

"Sixtyten" is spacey and psychedelic, yet syncopated; the ghostly voices lending mystery to the final mix appear like
palace spies straight out of Hieronymus Bosch's The Garden of Earthly Delights. I find funk and jazz elements in
Turquoise Hexagon Sun; ambient music can be that rich, Brian Eno knows a lot about that, too, and his spirit is
present on this album as well. It's about not being afraid to experiment and treating music like water: if it spills, it
doesn't disappear, it simply changes shape.

The bridges turn into short songs in their own right, tracks with their own distinct identity, such as "Kaini Industries"
or "Bocuma", a synthesizer part that can evoke a natural waterfall, or statues coming to life at night... and "Roygbiv,"
which fuses a hip-hop beat with a highly symphonic, atmospheric mood, yet possesses just the right touch to feel
fresh, almost New Wave, thanks to a simple keyboard, like those three-prong outlets. "Rue The Whirl" represents
the brand of progressive electronica that appeals to me most; its tension builds steadily, an electronic record
charged with alternating current. Through waves of sound, it achieves a passive, psychedelic atmosphere, almost a
trance state, yet one not devoid of variation, as it ultimately flirts with dissonance and details like Mellotrons,
striking the perfect balance between the vintage and the postmodern.

The secret behind the change in sound, so percussive and featuring a sort of equidistant echo, in "Aquarius" is a
slap-funk sample from the song of the same name from the movie Hair (1979). The narrative voice, the children's
laughter, reminiscent of what Rickie Lee Jones used on her album Pop Pop, and those percussive variations
combined to create a hybrid that was also hypnotic. Pete Standing Alone returns to those minimalist Brian Eno-
esque melodies, but incorporates samples that introduce variations and shifts in rhythm, preventing the listener
from settling into a routine, as the aim is to keep the sonic progression moving forward.

"Smokes Quantity" is rhythm with substance, a melody that provokes and leaves a lasting mark, keeping the mind
wide awake; Boards of Canada offers an inward journey that challenges one's comfort zone, much like atonal music
once did. Only then are we ready for "Open the Light," with its emotive, Vangelis-esque progression, for it is wrong
to skip chapters that were sequenced in a specific order to prime the mood and ensure receptiveness to the climax
of the penultimate track, experiencing it for what it truly is: a sonic journey.

BOARDS OF CANADA Twoism (Prog Related, 1995)

Tue, 6 Oct 2026 14:11:31 EST

Review by Logan — The Past Inside the Future

I feel Boards of Canada may speak more to people who are wired for math and geometric sequences. If an audience approaches their music looking for standard progressive showmanship or rapid chord changes, it could sound like background noise or simple down-tempo loops. But sitting with it can reveal a thoughtful, structural design. Even back on this 1995 release, they were already embedding things like the Fibonacci sequence and the golden ratio into the tracking layout, treating their loops less like pop filler and more like circular equations.

Twoism works especially well for me because of its bookends. The opening track, "Sixtyniner", introduces a quiet vocal sample about seeing the future and the past. It's clear this isn't just an isolated early experiment; it's the literal seed for how the brothers deliberately engineer their past directly into their future compositions -- a blueprint they would call back to years later when looping the phrase "the past inside the present" on Geogaddi's "Music Is Math".

This way of looping time parallels David Lynch and Angelo Badalamenti's Twin Peaks. The tracks across Twoism move a lot like the Lodge -- a space built on drifting tape loops, hidden rhythms, and warped vocal cues that blur the line between backward and forward movement. Instead of using flashy soloing for surprise, the music relies on a disciplined, eerie repetition to hold a twilight mood. That heavy atmosphere resolves in the closer, ""Smokes Quantity / 1986 Summer Fire", which drags a slow hip-hop beat through a dusty, tape-decayed claustrophobia that feels lost in time.

Following the opener, "Oirectine" stands out as one of the most rewarding rhythmic tracks here. It drives a syncopated down-tempo pulse that shows, I think, that this era was not just some sleepy ambient wallpaper.

The title track, "Twoism", is another favourite piece from the middle section. It sits right in the middle of the record with a murky, drifting sound built on unpolished, pitch-degraded synth pads. It doesn't break the established mood at all. It just adds a nice, heavy layer to the EP, showing that the core of the album has real musical weight instead of just filling space between the major tracks.

The rest of the middle section plays out as a collection of shorter sketches and beat experiments grouped around the title track. Things like "Iced Cooly" and "Melissa Juice" work as quick, fragile moments built on slightly warped melodies that disappear before they can overstay their welcome. This lighter side balances against the rough drive of "Basefree", which drops a harsh, industrial beat that pushes closer to an unpolished techno sound. "Seeya Later" keeps that murky Lodge mood, using drifting synth pads to tie the upfront grooves to the end of the record. Instead of a standard checklist, these tracks work together as a collective landscape of early tracking ideas, holding things together before the closing architecture locks it all back into place.

While at Rate Your Music I will give this a 3.5, for Prog Archives I give it a 3. I adore the opening and closing tracks ("Sixtyniner" and "Smokes Quantity / 1986 Summer Fire"), and very much like material in between, but I don't think it would as essential as many other releases for most. I would say if you are fan of Boards of Canada then this very likely is an essential piece of its history, and various of these tracks would be essential to my Boards of Canada compilation album. That ending does just make me want to listen to it all over again.

GEOFFREY DOWNES Trauma (Crossover Prog, 2026)

Tue, 6 Oct 2026 14:06:37 EST

Review by pedroTV — Gotta say what a Golden Gush of Goodness 25th September is

U2 drop Silencio in a few minutes
Taylor Swift has 4 new songs
ASIA just dropped 3rd single from Indigo
Macklemore announced a FREE PALESTINE tour
Mark Almond's Soft Cell drop a whole album

Now this

Yes. It's a strong + cohesive collection of stirrin' + bittersweet toons. My jam.
The lyrics are relatable. The metaphors strong see Lake of Memories
The arrangements dynamic without too many surprises. The odd flute
or trumpet helps the diversity of sounds

Chris is still a nostalgic dude, seekin' consolation + inspiration

Now. To put all this in context.
I've been deep into Macca + Wings lately.
Even the whimsical, twee stuff, Silly Love Songs, Waterfalls, With a Little Luck
All those cool sound effects Let 'Em In....The doorbell...the telephone broops
in Uncle Albert....but.....always deeply melodic, great bass lines...cool lyrics...
Band on the Run.....no one comes close to Macca....by a long way

But Chris comes closest. Inspired by Macca, Kate Bush. Squeeze, Tears for Fears,
Prefab Sprout. Has he made A Deal with G-d (?)

The band are tight, not too flashy, there are no Howes or Sherwoods or Schellens here,
but Bainbridge always brings a yearnin' + keenin' quality to his Celtic tinged palette,
there's some lovely fretless bass work...Geoff is there as the bedrock of the music.
Electronic or orchestrated as the song calls for....

This is a mature album in terms of themes.

Sometimes self-helpy. Chris means well. Am sure he writes to reveal himself to his 2 boys.
Most of the times it's that wry, hard-won bitter sweetness that I adore.

Juliet is a real outlier....a personal narrative, Chris sings as if he is Anne Perry's brother
or cousin tryin' to understand why she dunnit...would this be a radio hit (?)
"could you kill again?" "was it sin or was it bliss"...this dark horror theme, pertainin'
to a woman is very Kate Bush-y......would love her to cover it

The singles are a rush. The ballads heart breakin'. Lake of Memories is magnificent.
Someone has to play these LIVE...Almond is holdin' his 5 yearly Marc Bolan celebration.
Be nice if they did Juliet at least.

They have brought the drivin' grooverama + the creamy dreaminess !!! 💚

....

PAIN OF SALVATION Entropia (Progressive Metal, 1997)

Tue, 6 Oct 2026 12:21:27 EST

Review by A Crimson Mellotron — 'Entropia' is the debut studio album by Swedish progressive metal act Pain of Salvation, originally
released by Avalon in Japan and later reissued by Inside Out, which would become the band's primary
label for decades to come. Fronted by eccentric multi-instrumentalist Daniel Gildenl]]>�formed in 1984 under the name Reality, gradually evolving into the excellent project we recognize
today as PoS. As for the album 'Entropia' itself, it had been in the works for quite some time prior
to its release. And while most debut albums tend to be uneven and unpredictable, I find this
particular one to be a surprisingly well-executed amalgamation of styles and influences that allows
the band's own identity to shine through as well. Primarily a progressive metal album, 'Entropia'
seems to draw as much from Faith No More and Mike Patton as it does from bands like Dream Theater
and Fates Warning, with which it shares some similarities. There is a claustrophobic, dark, and
almost urban atmosphere on this record, which to me is in line with what other prog metal acts had
been exploring stylistically around that time.

The music on 'Entropia' is nevertheless difficult to describe, as it ranges from melodic and
straightforward progressive rock, to chaotic, technical, and rhythmically dynamic heavy prog. Highly
eclectic, this album occasionally feels overstimulating and difficult to follow, which is something
the band would remedy on future releases. On top of that, the concept behind 'Entropia' is quite
complicated, too, and the band does not make it easy to decipher either. So try not to dig too much
into the lyrics or the meaning behind each track but rather enjoy the dense rollercoaster of styles
and moods that this collection represents. For me 'Entropia' carries several characteristic elements
of the classic Pain of Salvation sound, but they are underdeveloped on this debut LP. Of course,
attentive listeners will find plenty of curious elements and motifs scattered throughout the record,
and in particular on stronger tracks like '! (Foreword)', 'Winning a War', 'People Passing By', 'To
the End', and 'Nightmist'. And while this is not a favorite Pain of Salvation album of mine, I must
admit that as a document of the progressive metal scene of the late 90s it is impressive and
promising.

BEYOND TWILIGHT Section X (Progressive Metal, 2005)

Tue, 6 Oct 2026 11:34:54 EST

Review by UMUR — "Section X" is the second full-length studio album by Danish power/progressive metal act Beyond
Twilight (if you discount the two Twilight albums as the works of another band). The album was
released through Massacre Records in March 2005. It]]>�from 2001. The nucleus of the band is intact (namely keyboard player and band founder Finn Zierler,
guitarist Anders Ericson Kragh, bassist Anders Lindgren, and drummer Tomas Fred]]>�of "The Devil's Hall of Fame" but there have been a couple of lineup changes. The omnipresent Jacob
Hansen (Invocator, Anubis Gate, Pyramaze...etc.) has joined on guitars and vocals, and American lead
vocalist Kelly Sundown Carpenter (Darkology, Inner Sanctum, Outworld...etc.) has replaced Norwegian
vocalist J]]>�
Stylistically the material on "Section X" is a combination of epic power metal and heavy metal
oriented progressive metal. The latter means that this is progressive oriented music but not
technical for the sake of it, and you shouldn't expect long instrumental sections dominating the
tracks. Beyond Twilight]]>�verse/chorus structures. The tracks are quite sophisticated though (listen to the almost theatrical
"Sleeping Beauty"). The closest relative is to my ears Symphony X because of the power metal and
progressive metal hybrid style, but also because of the epic nature of the music, the heaviness of
the music (this is not vanilla Euro power metal), and the omnipresence of keyboards. Carpenter is
quite the impressive singer with a strong voice and commanding delivery and the musicianship is
generally through the roof on this release.

"Section X" features a powerful, heavy, and detailed sound production. It]]>�produced but still heavy and raw enough not to become too sterile sounding. Every instrument and
vocal part stand out in the mix and are perfectly balanced. Just because this is Zierler]]>�doesn]]>�conscious in terms of when his keyboards should dominate a track and when they shouldn]]>�conclusion "Section X" is a step up in quality from the already great "The Devil's Hall of Fame" and
it]]>�rating is deserved.

(Originally posted on Metal Music Archives).

NINE DAYS' WONDER We Never Lost Control (Crossover Prog, 1973)

Tue, 6 Oct 2026 11:22:11 EST

Review by Andis — Here's a record that deserves a lot more love. We Never Lost Control is one of those albums I
genuinely enjoy, and every spin leaves me in a better mood than before. After all, what's the point
of music if it doesn't entertain you and put a smile on your face?

This album will never be mentioned in the same breath as the undisputed giants of progressive rock,
but that hardly matters. It's a record I keep coming back to, and one I enjoy tremendously. German
oddballs Nine Days Wonder, a band that seemed determined to reinvent themselves with every release,
followed up their wonderfully bizarre debut by making a complete stylistic U-turn. The result is an
album that's surprisingly difficult to pin down.

If I had to try, I'd place it somewhere between David Bowie and Van der Graaf Generator, with a
touch of Genesis and Nektar sprinkled on top. What they play could broadly be called progressive
rock, but that's only part of the story. There's glam rock swagger, flashes of krautrock, bursts of
hard rock, hints of jazz rock, and all of it fronted by a wonderfully (!) theatrical vocalist. In
other words, this album stubbornly refuses to sit in a single genre box.

The band's greatest strength is its energy. Driven by swirling organs and keyboards, backed by a
heavy and aggressive bass, they charge through inventive progressive rock that somehow manages to
combine the punch of hard rock with the structure of prog and the occasional hook of melodic pop-
rock. Had I not known they were German, I would have guessed they were British without hesitation.

Side A is a thoroughly enjoyable affair, filled with melodic songs that contain just enough
progressive trickery to keep things interesting. But it's on Side B that the real fun begins. Here
the band completely lets loose, delivering colorful, adventurous prog rock with the magnificent
nine-minute epic "We Grasp the Naked Meat" as the undisputed centerpiece.

We Never Lost Control is a lovable little gem of an album: quirky, energetic, unpretentious, and
endlessly entertaining. Think of it as a bag of mixed candy for progressive rock fans. Maybe it
isn't a masterpiece, but it's the sort of record that reminds you why digging through the lesser-
known corners of the genre can be so rewarding.

T.A.P Paradigms II (Eclectic Prog, 2026)

Tue, 6 Oct 2026 10:02:45 EST

Review by yarstruly — This is from my blog "Scott's Song by Song Spotlights" with links for listening and purchasing.

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

T.A.P are a progressive rock band led by composer/keyboardist Michael Jobborn. On their first album, which I have
not heard (2023's "Paradigms") the band was rounded out by Warr-guitarist/multi-instrumentalist Mark Cook (Phase
of Twilight and others) and Guitarist/Vocalist/multi-instrumentalist Suzi James (Fearful Symmetry, whose wonderful
latest album "I've Started?So I'll Finish" is reviewed on this blog as well!). Paul Sears and Bill Bachman were both
contributors on the first album on the drum throne. This time around Bill Bachman is a full member. Bill is
renowned for his work as a drumming educator, including his work with several Drum Corps around the US. (DCI-
Drum Corps International- is a deep rabbit hole that I have been familiar with since my college days!) But his prog
resume is impressive as well: (From the press release) "Bill is the drummer for Herd of Instinct, Spoke of Shadows,
has toured with progressive rock artist Neal Morse, is on recordings with Trey Gunn (King Crimson), Colin Edwin
(Porcupine Tree), Adam Holzman (Miles Davis & Steven Wilson), and Gerald Albright (Grammy award winning
saxophonist)". So, the musical talent in this band is absolutely staggering!

This album comes courtesy of Anne-Claire Rallo of Bad Dog Promotions. As always, I receive no additional
compensation and am free to "call it like I hear it". In fact, when I received the email offering this review to me from
Anne-Claire, I replied, "You had me at Suzi James". The album "Paradigms II" is to be released on October 3, 2026,
on the Prog Rock Essentials label (Ordering info follows the review). As per my usual method, this is a cold listen.

Time to dig into the music!

T.A.P are:

Michael Jobborn - concepts, keys

Mark Cook - Warr guitar, bass, 12-string guitar, synth, sitar, strings, choir

Suzi James - acoustic/electric guitars, keys, flute, violin

Bill Bachman - drums, percussion

Additional Contributors on tracks:

2. Chris Gill - guitar

Chris Messina - synth

4. Steve Bonino - guitar, lyrics/vocals

5. Gayle Ellett - mellotron, acoustic/electric guitars

6. Massimo Pieretti - piano, synth

Gayle Ellett - bouzouki, mellotron

8. Tenk van Dool - mandolin, guitar

Chris Gill - guitar

Track 1 - Galaxy Unknown (4:28)

An organ riff, accented with drums starts us off with an odd meter. The rest of the band soon joins in. There is a
guitar solo after around 45 seconds. A softer section follows with alternating acoustic and electric instruments in
the spotlight. This is a wonderful instrumental musical journey with many layers. As one might expect, the talent
level here is through the roof! A terrific opener!

Track 2 - A Beacon of Light (12:17)

This one fades in with some guitar effects and synth tones. It feels like the first rays of sunlight at dawn, matching
the title. Electric piano chords bring a sense of rhythm. The bass line provides melodic movement. The chords are
layered among many instruments, giving a rich tonal palate. This is moving at a moderately slow tempo and a
relaxed feel. The guitar solo that happens at around the 4-minute mark brings a balance of melodicism and
complexity. A droning section after that leads to an upbeat groove on the bass and drums. It begins to take on a
jazz fusion flavor. Synth and guitar solos float over the top of the rhythm bed. Just before 7:30 things calm down
and a new section begins. Sitar sounds are a part of the soundscape. Bill's marching band experience shows in his
snare part. At 8:45 we are down to lead guitar, bass and keys. The drums subtly return. We are in a slower 6-8 at
this point. At 9:55 a more strident beat that reminds me of old TV themes takes over. There are so many moods in
this piece; I love it! At 11:30, it reminds me of how it began. What an absolutely fantastic instrumental piece of
music!

Track 3 - A Dramatic Interlude (4:06)

Electric piano, bass and lead guitar start this off. The drums enter a moment later. This is in a moderately slow 6-8,
so far, but the title tells me something is going to happen. The tempo increases slightly and becomes more
rhythmic after a small crescendo. I believe that is the Warr guitar taking the solo that follows. I love the staccato
bass and guitar riff at around 2:20. Things begin to build up at around 3:20. The track ends with a long, sustained
chord. A wonderful piece, but not as dramatic as the title indicated.

Track 4 - A Hole in the Ground (6:14)

Rich electric piano chords and clean guitars start us off here. Lead guitar emerges. And then--Vocals! Guest
musician Steve Bonino is on this track with guitars and vocals. (This is not the first time his name has appeared in
one of my reviews!) The drums begin to emerge as we progress. Mark Cook's basslines are fantastic on this album.
Steve's voice seems a little buried in the mix at times. The drums might be a little too far back at times, as well. I
like the song, but I don't feel like it's mixed as well as it could be. It would benefit from a better presentation. It
ends with droning sounds.

Track 5 - 4th Dimensional Wave (11:50)

Sound effects fade in and guitars join. This starts out sounding like some sort of alarm. Soon, though, the music
gets melodic with a fantastic guitar solo; I believe it is Suzi James. We are in a moderately slow tempo. The keys are
playing a mellotron style chorus behind the solo. Some intricate rhythmic patterns follow. This keeps building,
slowly and gradually. At around 4:20 we get into odd meters. At 5:45, the rhythm shifts into a different groove. I am
really enjoying this one! There are tons of changes! Gayle Ellet of Djam Karet and his band the Electromags adds
his keyboard abilities to the soundscapes. Probably my favorite track, so far.

Track 6 - Lyrical Paradox (3:50)

This one has a bit of a swing to it. Sort of a mellow melodic tune. The sound gets bigger just after the one-minute
mark. Great melodies in this one. I love the slide guitar in it; it reminds me of the slide guitar in "And You and I"
from Yes. This is a nice little piece. Ellet is back with bouzouki on this, and Massimo Pieretti (whom I have reviewed
as well) adds keyboards.

Track 7 - Outlooks of the Closed-Minded (6:29)

This opens with some accents and jazz chords. It has a fusion feel to my ears. I love the syncopated rhythms. It
reminds me of the Dixie Dregs a bit. Lots of melodies wind their way through this one. Wonderful track!

Track 8 - Wishful Solitude (:)

This one is more up-tempo, yet lighthearted. As with most of the album, the melodies are abundant! At around
3:15 Suzi plays her flute. There are many interesting things in the soundscape. At just be for the 5-minute mark, a
descending synth part that sounds like the 70s idea of a UFO landing takes over, then we get a bit funky! At around
6:45 we get a psychedelic organ sound. This is a very cool piece with many different things going on. Tenk van Dool
(who I am not familiar with) plays the mandolin at around 8:45. The melodies intertwine as we approach the ending.
This is a wonderfully arranged prog instrumental. Great way to end this wonderful album.

OVERALL IMPRESSIONS:

I really liked that a lot! Unfortunately, I am not sure what happened on track 4, "A Hole in the Ground". I have
always liked Steve Bonino's contributions, and he always seems to be a good guy in the online interactions I have
had with him, but something just didn't work for me on that track. Otherwise, this is a fantastic album of mainly
instrumental prog with some fusion tendencies. I give this a 4.5 out of 5 or 90%. Recommended!

GEOFFREY DOWNES Trauma (Crossover Prog, 2026)

Tue, 6 Oct 2026 07:52:49 EST

Review by Aussie-Byrd-Brother — Not all prog-related albums need to hold overly complex arrangements, a new case in point being 2026's
`Trauma', the sixth disc from frequent Yes/Asia keyboardist Geoff Downes DBA (Downes Braide Association)
project that sees him teaming up with pop/rock vocalist, song-writer and producer Chris Braide. The latter's
work (check out the eclectic smorgasbord of pop artists the guy has worked for!) results in a series of highly
melodic, catchy and sophisticated pop/rock/AOR tunes here all given light prog-rock embellishments, the duo
backed up by frequent DBA contributor, bassist Andy Hodge, drummers Ashley Soan (Rick Wakeman) and Tim
Weller (The Oscillation), and multi-instrumentalist Dave Bainbridge (Iona).

In Chris Braide's own words, the album is described as being "about the ghosts we inherit, the wounds we hide,
and the light that still finds its way through. In the end, it is not an album about suffering, but survival. 'Trauma'
isn't an album about defeat - it's about what happens after. It's about carrying your scars with dignity, refusing to
be diminished, and remembering that kindness and perseverance ultimately outlast cruelty and fear." Despite
the recurring theme, lower that raised eye-brow, prog fan, and step away from the Roger Dean cover, this ain't
no concept album! But many of the tunes take a similar approach, displaying fancy pop-smarts with rousing
choruses, soaring harmonies and crisp instrumental touches. A softer and less bombastic Asia might be a gentle
comparison, although the tunes are more reflective, even if they both share a `radio friendly' approach (if
popular radio was actually taking a chance on songs like this these days!).

Looking at some of the highlights, after an Asia-esque fanfare, poppy opener `Hello, Hello' unveils a catchy
recurring chorus and gliding harmonies, Chris Braide's voice revealing a charismatic rasp. The title track, one of
the longer pieces at over eight minutes, is certainly one of more dramatic moments with its reassuring words,
dreamy guitar strains and thoughtful piano dancing around shifting tempo changes, and is bound to be
considered an album standout.

The sweet and upbeat `Wonderland' slinks with programmed beats, jangling guitars, purring synths and a
buoyant chorus that wouldn't be unexpected from any of the country rockers that are currently very popular.
While not quite a duet, `Love and Loss' has Chris complimented vocally by British-Australian singer-songwriter
Emmi (Emily Joy Green) - think Sound of Contact's `Beyond Illumination' or `Time Stands Still' from Rush for a
similar effect. The ear-worm chorus of `I Wish I'd Known' is dream-pop perfection, `Do You Remember?' could be
an Eighties pop-era Genesis out-take (sounds like it could have easily ended up on `Duke' or `Abacab'), and Chris
comes together with synth-pop icon Marc Almond on pressing lament `Juliet'.

Most prog-fans will gravitate towards the longest track here at nearly fifteen minutes the most, and `Lake of
Memories' is a slowly unfolding multi-part suite with recurring passages across a solid mix of gentle reflective
moments and driving rock passages. Each reprise of the enlivening chorus grows in urgency and power, and the
constantly elegant synth-orchestration, Andy Hodge's sweetly murmuring bass and weeping guitar soloing
throughout reminds of UK proggers Pendragon at their romantic best. It pairs nicely with the thoughtful and
moving closer `Wherever You are Now', an emotive paean to a former love with a triumphant end.

`Trauma' is perhaps a little long at nearly an hour, some listeners may find the polished-to-perfection production
to be impossibly clean and the progressive elements too subdued, but there's no denying there's an exemplary
range of quality song-writing, warming vocals and tasteful playing from Downes, Braide and company on display
here. Give it a few spins, and listen for how this gem reveals its strengths.

Four stars - but if you're a stuffy prog-snob who can't accept anything even a little poppy, just take a half-point
off and walk away! ;)

PINK FLOYD The Endless River (Psychedelic/Space Rock, 2014)

Tue, 6 Oct 2026 05:13:47 EST

Review by Andis — Or, as it should probably have been called: The Endless Intro.

Nobody needs to tell me this album is built from leftovers from previous sessions. After listening
to it, that fact practically introduces itself. In theory, recycling old material could have been a
great idea if anyone involved had possessed the energy, inspiration, or curiosity to actually do
something interesting with it. Instead, the apparent creative process was: find some unused Richard
Wright keyboard recordings, sprinkle on a bit of guitar, drums, and the occasional mysterious
spaceship noise, then glue everything together and call it an album. Any questions?

What makes this even more frustrating is that Pink Floyd is one of my favorite bands of all time.
I've spent decades loving their music, so this isn't coming from a casual listener looking for
something to complain about. If anything, I wanted to love this album more than anyone.
Unfortunately, enthusiasm can only carry you so far when the music seems determined to drift
aimlessly into the horizon.

This record taught me an important life lesson: always listen before you buy. When I heard Pink
Floyd were releasing a new album, I was so excited that I pre-ordered it immediately. That was a
mistake of truly Floydian proportions. I haven't been this bored since listening to The Final Cut.
On the bright side, this album didn't make me quite as depressed, so I suppose that's progress.

The Endless River is quite literally The Endless Intro. It feels like an introduction that somehow
escaped containment and continued for over 52 minutes. If we're being generous, we can count the
final track as an actual song, which brings the intro down to a mere 46 minutes. Was that song worth
sitting through a 46-minute introduction? No. No, it was not.

When you put the Pink Floyd name on an album, people naturally expect something resembling Pink
Floyd. Not a 52-minute ambient soundscape that vaguely gestures toward Pink Floyd while offering
absolutely nothing we haven't heard before, and usually heard done better. This is less a new album
and more a museum tour of discarded ideas.

I'm giving it two stars, and that's me being charitable. There are a few pleasant moments scattered
throughout the record, but they're buried beneath such a thick layer of mediocrity that excavating
them feels like a part-time job.

THE PRETTY THINGS The Pretty Things / Philippe DeBarge (Proto-Prog, 2009)

Tue, 6 Oct 2026 02:36:21 EST

Review by Fercandio46 — There are times when reality is stranger than fiction, and the story behind the making of this album is another
example of that. Philippe DeBarge was a young French heir to a pharmaceutical fortune and a huge fan of The
Pretty Things. Guitarist Dick Taylor had become disillusioned by the lack of impact of S.F. Sorrow, leading Victor
Unitt to join the band as his replacement; this was the first album he recorded with them. DeBarge contacted the
musicians and invited them to his opulent ch]]>�record an album with himself as the lead vocalist. There, at the Epi-Plage club and his own residence, a thoroughly
bohemian gathering took place, reminiscent of a Fran]]>�actress Brigitte Bardot mingled and played guitar amidst a black-and-white "Nouvelle Vague" atmosphere. The
album was recorded in London at Nova Studios. Thanks to DeBarge's funding, The Pretty Things had access to high-
quality equipment, including an 8-track tape recorder.

After the recording sessions, DeBarge took the masters to France, and the material remained in storage,
unreleased and forgotten, on acetate discs. The acetate has been bootlegged since then. In 2010, it was acquired by
Mike Stax, owner of the 1960s music magazine Ugly Things. He unearthed one of the two acetates, had it mixed and
mastered, and then, as a bonus track, It led the classic Pretty Things lineup, which Dick Taylor had just left at the
time the tracks with DeBarge were recorded, to record a song titled "Monsieur Rock" (Philippe's Ballad) as a bonus
track for this release on Ugly Things UTCD-2207.

The songs "Alexander," "Eagle's Son," and "It'll Never Be Me" were already known, having been recorded in the late
1960s by "Electric Banana", the pseudonym under which The Pretty Things recorded soundtracks for De Wolfe
Music. Notably, these three songs appear in Menahem Golan's film What's Good for the Goose (1969).

The Philippe DeBarge album itself serves as a bridge between the group's major Works, S.F. Sorrow and Parachute,
yet it stands on its own merits. Less dark than its predecessor, it is perhaps the final example of that fresh,
unpredictable, exciting, and thrilling, yet fun, psychedelia. This is evident in the opening track, "Hello, How Do You
Do," which echoes the trippier side of the Rolling Stones' Their Satanic Majesties era, while the restrained calm of
"You Might Even Say" recalls the Kinks. The track "Alexandre" is vocally challenging, raw and pugnacious,
reminiscent of the early Who, yet it takes flight thanks to the Pretty Things' backing vocals and Victor Unitt's diverse
guitar solos; these solos explore various shades of psychedelia while occasionally channeling the wild spirit of his
previous group, the Edgar Broughton Band.

These tracks sit alongside others with a more pop-oriented sound, charming thanks to the use of the clavichord, as
in "Send You With Loving," and a prominent bassline. The album's real strength lies in its garage-rock, almost proto-
punk, tracks, which are packed with energy and vocal harmonies, blending acoustic Indian ethnic elements with
rock 'n' roll piano, as heard in "You're Running You And Me."

"Peace" possesses a unique poetry and beauty, and is linked to "Eagle's Son," carrying forward its infectious rhythm
and energy. It features melodies full of personality, where the rock and pop of "Swinging London" float through,
almost becoming anthems of the era.

While the influence of the Beatles could be traced in FS Sorrow, here we find psychedelia driven by acoustic guitar
and harpsichord, punctuated by bursts of distorted electric guitar in soundscapes closer to the Kinks. The work
evokes an era when the past and the future did not clash, simply because they were distinct, as seen in "New Day."
Wally Waller handles piano and organ duties on "It'll Never Be Me", a track that remains laid-back right up until
Victor Unitt's screeching solo, while the bongo percussion adds a relaxing touch that contrasts with the album's
more urgent moments.

"Monsieur Rock (Ballad Of Philippe)" sounds more modern yet fits the spirit perfectly; it is even moving, evoking an
era where the backing vocals and guitar seem to pick up exactly where they left off. The sound is raw, defiant, and
powerful, with an improvisational feel, making it a fitting tribute that brings a sense of currency and relevance to
this long-awaited official release.

Twink left in late 1969 to form Pink Fairies. Skip Alan returned on drums just in time for the band's return to Abbey
Road to begin work on Parachute, which retained the psychedelic sound but incorporated increasingly progressive
elements. And Philippe DeBarge shines like those teenage memories that, as time goes by, leave you wondering if
they were real or imagined...distorted like that very psychedelia, a time capsule that endures like the eternally fair
weather of the Saint-Tropez coast.

SAVATAGE Hall of the Mountain King (Progressive Metal, 1987)

Tue, 6 Oct 2026 02:16:44 EST

Review by A Crimson Mellotron — Few late-80s metal albums are as influential as Savatage's fourth studio offering 'Hall of the
Mountain King', originally released by Atlantic. This is the first album by the American band
produced by then-new producer Paul O'Neill, who had insisted on a more coherent musical direction,
while also adding a bit of a conceptual edge to their recordings. At the same time, the band shows a
willingness to experiment with more sophisticated arrangements and tighter compositions, as heard
throughout the album. The result is a darker, progressive-oriented record that sits at the
intersection of melodic power metal and technical heavy metal, offering a triumphant and relentless
sound graced by fast-paced guitars and stunning vocal performances. As usual, fantastical elements
prevail on this Savatage album, bringing along an interesting aesthetic that sets the band apart
from many of its contemporaries in the heavy metal scene. The lack of success of their previous
albums may have motivated Savatage to create a solid, kind of "bulletproof" collection of songs,
that is what the record feels like.

The straightforward songwriting, thunderous solos, and the overall dark atmosphere of 'Hall of the
Mountain King' render this album an appealing listen from start to finish. Its ten tracks are
primarily written by Jon and Criss Oliva, respectively lead singer and lead guitarist of the band,
while a few songs also credit producer O'Neill as a co-writer. This record also has instrumental
arrangements of excerpts from 'In the Hall of the Mountain King' by Grieg and 'Mars, the Bringer of
War' by Holst, which is further proof that Savatage were pursuing a sophistication of their sound
with this release. Opening side one is the song '24 Hrs. Ago'. Its sweeping, metallic riff provides
a menacing and theatrical tone that is taken on by the following track 'Beyond the Doors of the
Dark', which is another really heavy and powerful composition. 'Legions' then explores a grooved up
power metal sound, while the melodic number 'Strange Wings' sees Savatage dialing back on the speed
and aggression of the first three songs. Side two then follows up with the instrumental 'Prelude to
Madness' and the iconic title track that needs no introduction. Of the four songs that follow and
conclude the record, 'White Witch' and 'Devastation' impress as well-arranged ballsy metal pieces,
while the instrumental interlude 'Last Dawn' is quite enjoyable. Of course, many of the progressive
elements are still underdeveloped on this release, while the instrumentals occasionally feel like
stopgap entries in a sequence of songs mostly dedicated to powerful riffing and vocal bravado.

Nevertheless, the vocals of Jon Oliva are fantastic all throughout 'Hall of the Mountain King',
while the writing and the arrangements are really strong. The quality of the entire album is
indicative of how Paul O'Neill understood what the band needed to become an 80s heavy metal majesty.
And despite its minor imperfections, this 1987 record remains one of the most important entries in
the band's catalogue.

TARUJEN SAARI Helmi� Ja Kuparikolikoita (Prog Folk, 1998)

Mon, 5 Oct 2026 22:00:08 EST

Review by kenethlevine — First it was FAIRPORT CONVENTION, but STEELEYE SPAN really planted the flag, and so were followed by worthy
extenders in other lands, such as MALICORNE and TRI YANN in France, ANGELO BRANDUARDI and GIAN CASTELLO
in Italy, CLANNAD and HORSLIPS in Ireland, MABSANT and PERERIN in Wales, CAPERCAILLIE and RUNRIG in
Scotland, OUGENWEIDE and GALAHAD in Germany, MILLADOIRO and SANGRE DE MUERDAGO in Spain, and on
and on. Most played a mix of trad/arranged and original/arranged trad style, such that, if you didn't already know, you'd be challenged to distinguish one from the other. They translated ancient poetry and
prose into their native language and took liberties with the original melodies when they were known at all. I count
myself among those who didn't realize that at least one Finnish group belongs in such select company, but given
the breadth of Finnish prog folk, which is like THIS wide, I can't say I'm surprised by the presence or the quality of
TARUJEN SAARI ("the island of sagas"), right from this debut.

Led by the spirited and technically irreproachable vocals and woodwinds of Kaisa Saari, the hurdy gurdy and
sundry from veteran TAPIO MATTLAR, twin violins, and a host of other folk instrumentation, this opening shot
straddles all the aforementioned genealogical lines and draws a few of their own. When they choose a tune
already well known to the type of people who would listen to this album in the first place, like "The Blacksmith",
they give it a fresh spin, in this case it's more potent than the diva-ish LOREENA MCKENNITT rendition or the dirge like
versions by STEELEYE SPAN when they were still finding themselves. They even tap the Swedes for the insistent
"Margareeta". But the obvious standout here is Sinun Siniset silmasi" (your blue eyes), which merges flawless
vocals, organic melody and guest cello.

It's worth mentioning that for 30+ years a world beat group named VAARTINA has decorated their own room in
trad oriented Finnish folk to an appreciative audience, but TARUJEN SAARI in unison pushes against the 4 (or however many) walls and thus, if
not on the island of which they sing, can at least see it from their terrasse.

SCARLET THREAD Psykedeelisi� Joutsenlauluja (Prog Folk, 2003)

Mon, 5 Oct 2026 21:17:37 EST

Review by kenethlevine — A crisp, violin and guitar led prog act can't help but invoke a certain era of a certain UK prog monarch led by
ROBERT FRIPP, and this instrumental album isn't unworthy of such a parallel, but this is mostly in the distorted icy
leads and the jazz inflections. With no vocals and a tendency to prefer structured jamming over improv, not to
mention a folk orientation that Crimson increasingly set aside after 1972, it would be as unfair to SCARLET THREAD
as it is to an obvious mentor to stretch this analogy any further. A better comparison might be Montreal's
TALISMA or, originating in the HACKETT school, MR GIL/BELIEVE or HARNAKIS. Among fellow Finns, perhaps
AQUAPLAN but without vocals, at least for now.

As I said, this is jamming but in a disciplined and repetitive way that generally works well enough and is nothing if
not appealing to prog ears, though everything seems a bit interchangeable - throw in a guitar motif, enhance with
violin, maybe add flute, then move on to another violin theme, and enhance with guitar, maybe add flute, and so
on. Luckily these are all well orchestrated. The opener and closer seem to hit highest on the sustainability index,
along with "Siipirikon Lento" (flight of the bird with the injured wing).

More would emerge in the subsequent decade, with a few dramatic changes, so this is not one of those debuts that
unwittingly doubled as a swan song. Mildly recommended, but more enthusiastically for certain listener profiles.

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

Mon, 5 Oct 2026 20:27:02 EST

Review by bandtutu — Drowning Steps - The Bravery of a Tireless Mind: Book One

1. The Angels and the Playground

The Angels and the Playground is an excellent introduction to the album. I really like the way it begins to develop
the character's story. One detail I particularly love is the sound of the pencil writing on paper. It may seem like
something simple, but it really adds to the immersion in the narrative. Caio's vocals also deserve praise, as they
fit the song's concept very well and help convey the emotions behind the story.

The first three minutes are beautiful. The acoustic guitar is very well crafted, and the atmosphere at the
beginning reminds me of moments from "The Moon Touches Your Shoulder" by Porcupine Tree and "A Pillow of
Winds" by Pink Floyd. There is a nostalgic tranquility to this introduction that I really enjoy, with a delicate
arrangement that allows each element to find its own space. The song progresses naturally, without rushing, and
never becomes tedious.

Around 4:15, we get an incredible transition. The guitar riff, accompanied by the keyboards and synthesizers,
changes the whole dimension of the composition and creates one of the first major moments of the song. I really
like how these elements complement each other. The acoustic guitar picking that comes in here, breaking up the
rhythm, also deserves praise.

At 6:30, the distorted guitar introduces a section that, although I understand its importance to the narrative and
the character's emotional context, buy simply doesn't work for me. I really don't like the riff. I understand the
intention behind the change and recognize its purpose within the song, but I feel another approach could have
conveyed the same feeling in a better way. It's a very personal criticism, especially because the composition wins
me back shortly afterward.

At 7:37, another guitar riff comes in, accompanied by the synthesizer, and the result is excellent. The drums also
deserve praise, as the changes in the groove give the composition more personality. I really like the bass's rich
and distinctive tone, and for me, this combination works so well that it makes up for much of what bothered me
in the previous section.

At 9:07, after a very striking, almost ghostly break, the song moves into a section that reminds me of "Moonloop"
by Porcupine Tree. Even though this is a relatively long passage, it never becomes tedious. The instrumental
development keeps me interested and shows the band's ability to sustain extended sections without simply
relying on the repetition of the same idea.

At 10:47, a riff with a more metal feel begins to emerge. I can't quite define exactly what kind of sound it is, but I
really like the change. It's the kind of riff I would even like to write myself, both because of its sound and the
energy it carries. Just a few seconds later, at 11:02, another transition completely changes the emotional state of
the song. The arrangement takes on a different dimension, setting the stage for one of my favorite moments of
the track.

The keyboards entering at 11:23 are simply incredible. The piano comes in with a very emotional quality, adding a
special sensitivity to everything that had been building up until that point. This section really moved me,
especially because of the way the instrument transforms the atmosphere without needing an exaggerated
change in intensity. Thiago's work on the keyboards is fundamental here, showing how important his
contributions are to the musical identity of both the song and the album.

When everything seems to be heading toward a satisfying conclusion, the guitar comes back and creates a
sudden shock that, interestingly enough, works very well for me. I don't see this choice as a problem, in fact, I
really like the effect it creates.

However, my biggest criticism comes right after that, at 12:27, when the previously used riff returns. I feel that
bringing it back is unnecessary and slightly hurts the flow of the composition. In my opinion, the song had
already found an interesting path toward its conclusion, and I didn't like going back to that idea.

Still, I really like the grandiose effect created by the keyboards together with the vocals during the "Then we went
up, then we went down" section. The combination has a lot of strength and fits the scale of the narrative,
although the repetition of this passage became a little boring for me. The ending of the section, with the guitar
delay, works well and sets the stage for the final part of the song.

The final section is beautiful. After so many changes in intensity and instrumental passages, the song finally
reaches a sense of peace that almost feels like a release. The atmosphere reminds me a lot of "Insurgentes" by
Steven Wilson. It also gives me the same feeling of relief I get when "Raider II" ends and "Like Dust I Have Cleared
from My Eye" begins on Grace for Drowning. After such a long emotional journey, it feels like you can finally
breathe.

Despite some choices that don't completely work for me, "The Angels and the Playground" is a very strong
opening, with excellent instrumental moments, engaging dynamic shifts, and an atmosphere that contributes
just as much to the musical experience as it does to the narrative.

------------------------------------
2. Fragments of a Lifetime

I found this song quite interesting, especially because it takes a very different approach from the previous track.
It has this kind of progressive folk-ballad feel, with a very atmospheric arrangement. The keyboard effects also
remind me a lot of "Entangled" by Genesis, and I think they fit the song really well.

I also really liked the ending, when the song starts to give you the feeling that something is going wrong. It's an
interesting choice because it works as a lead-in to the next track, "The Nod", leaving a certain sense of tension in
the air.

I like the idea behind the lyrics, especially this moment where the character is searching for peace. Overall, it's a
simple track, but it works really well within the story of the album.

--------------------------
3. The Nod

The beginning of this song reminds me a lot of Opeth atmosphere. Then a very distinctive guitar riff comes in. I
wouldn't necessarily say it's good or bad, but I understand the idea behind it and I think it works.

I really like the part around 2:35, when a sequenced drum pattern starts playing in the background. I thought that
was a very interesting choice, and it reminds me of some things Wilson has done. The drums also deserve some
praise here; they give the song a lot of dynamics and help build that sense of tension without simply making
everything heavy all the time.

The bass solo is also really good, especially with the character's narration playing in the background. Then the
heavy guitar riff from the beginning comes back, and this time I think it really gains more meaning and fits the
song very well.

I also really liked the synthesizer solo, which brings a different texture to the track. The guitar solo is good as well
and works nicely within the composition.

Overall, I think the song takes its time to show this depth and develop the idea further.

----------------------------------------------
4. Waiting for Redemption

This is easily my favorite song on the album. It starts with a piano in the background and Caio's vocals, which
once again deserve a lot of praise. I really like how the song gradually builds along with the lyrics, creating more
and more tension as it progresses.

The way the song keeps building gives me a strong Neal Morse vibe. I can't really say whether it reminds me
more of Transatlantic, Spock's Beard, or his solo work, but there is definitely something about the way the song
develops that makes me think of those bands.

Around 3:50, a guitar riff comes in and fits the song really well. The effects also deserve a lot of praise here. They
manage to create a completely different atmosphere and then return to the previous one in a very natural way,
without making the transitions feel forced.

This particular riff really reminds me of a riff from the bridge of "Weenie Beenie," from Foo Fighters first album.
It's not exactly the same, of course, but the way the riff comes in gives me a very similar feeling.

Then, around 5:15, the song goes through a complete change. Once again, it shifts into a darkness and more
introspective atmosphere.

Shortly after that, the synthesizer solo comes in, and together with the drums, it sounds incredible. Listening to it
gives me a really good feeling, almost as if I'm going on a trip. And maybe that's exactly what the character is
experiencing in the story as well.

Then that heavy riff comes back, this time accompanied by a wah-wah guitar solo, and I absolutely love it. It's
really spectacular. The combination of the riff, the guitar tone, and the wah-wah works incredibly well.

A new verse then comes in, very well placed, followed by the return of that almost ghostly section, which keeps
repeating.

My only real criticism is that this final part starts to feel a repetitive. I like the atmosphere it creates, but I think it
goes on a little longer than it should.

Even so, this is easily the track that stands out the most to me. It has so many great ideas that fit together really
well, and the way it moves between different atmospheres while maintaining the narrative is excellent.

----------------------------
5. Life Handed Me the Map

This is the song that closes the album. It feels like the character is expressing his gratitude for having finally
found the path; the "map", that will allow him to reconnect with the fragments of his past.

I really like the effects and the atmosphere of the song. There is something very calm and reflective about it,
which makes it feel appropriate as the ending of the story.

I also really like the detail of hearing him write again at the end of the song, followed by the sound of the book
closing. I think it's a great way to bring the album to an end, especially because the sound of the pencil writing
appeared earlier in the story. It gives the whole thing a feeling of closure, almost as if we've just finished reading
the character's story ourselves.

--------------
Overall Opinion on the Album

For me, this is a work that shows how much the band has matured, both in their songwriting and in the way they
tell their story. I really enjoyed the songs, especially the way the album manages to create different atmospheres
and make them work within the narrative.

The main highlights for me were The Angels and the Playground, The Nod, and especially Waiting for
Redemption.

Overall, this is an album that really surprised me and shows how much Drowning Steps has evolved. It's a record
I definitely plan to listen to over and over again, because I feel like there are still a lot of details to discover.
-----------

My Ratings:

4,3/5

8,6/10

Congratulations for this excellent work.

Caio Claro / vocals, acoustic guitar (1), guitars (2,5), Arrangements and Sound Manipulation

Fabricio Mendon]]>�
Leonardo Gon]]>�
Marcos Duran / guitars (1-4)

Tiago Pierucci / keyboards, synthesizers, effects, organ, piano, Wah-Wah guitar (2), backing vocals (4),
Arrangements and Sound Manipulation

Robin Peachey / vocals (1)

La]]>�
Erlend Viken / vocals (3)

FROST* Falling Satellites (Neo-Prog, 2016)

Mon, 5 Oct 2026 14:57:58 EST

Review by VianaProghead — Review N]]>�
Frost* is a progressive rock band, a neo-prog super group that was formed in East Sussex, England, in 2004. Frost* was
founded by songwriter, producer and musician Jem Godfrey, who is better known to the wider world for his work
creating chart topping pop hits, when he made a conscious decision to return to his own musical past writing and
playing progressive music. After writing and recording material on his own for several months and contacted several
English well known musicians. Their debut studio work "Milliontown" was released in 2006. In 2008 they released their
second one "Experiments In Mass Appeal". The third one "Falling Satellites" from 2016 will be the subject of the review.

Although the band has remained true to the neo-prog style, the line up changes have brought some changes to the
band's sound. The keyboards now play a more dominant role and since the guitar part has also been reduced, "Falling
Satellites" seems smoother than its predecessors. It has little in common with "Milliontown", apart from the general
style. "Experiments In Mass Appeal" gives a better indication of the direction. But with "Falling Satellites" Jem is still
going one step further. Here we have nice prog and sophisticated pop with a lot of drive and a good feel for melodies
with a catchy nature. The band seems genuine with a lot of fun with what they do presenting themselves confidently.

So, "Falling Satellites" is the third studio album of Frost* and that was released in 2016. The line up on "Falling
Satellites" is John Mitchell (vocals and guitar), Jem Godfrey (vocals, keyboards, electric and lap steel guitars and
Chapman Stick), Nathan King (bass guitar) and Craig Blundell (drums). "Falling Satellites" also had the participation of
Tori Beaumont (vocals), Joe Satriani (guitar) and Mark Knight (violin), all as guest artists.

"First Day" is a very short track. It begins the album with an ominous orchestration and a spacey ambience. It provides
an atmospheric introduction that sets the ambient tone to the album. "Numbers" is a great track, an enjoyable rocker
with a nice lilt to it that sets the upbeat tone of the album. It has a lot of depth and a lot going on. The vocals are
layered perfectly on top of the instruments and backing tracks. "Towerblock" is easily the standout track on the album
due to its level of experimentation and complete unconventionality within the scope of this sub-genre. It embraces
their pop and electronic sensibilities and reflective lyrics into something that feels modern, but also classic. "Signs" has
love lyrics with Mitchell on the lead vocals. This is arguably the most pop-oriented track we've heard from the band. It's
another strong and heartfelt song that wouldn't sound out of place on either of their previous albums. "Lights Out" is a
sort of ballad with pop infusions, a lovely tune with some great guest vocals by Tori singing along with Godfrey. It's a
fantastic power ballad, a nice break in the middle of the album, to prepare us for the epic second half. "Heartstrings" is
a solid rocker with great hooks and massive synthesisers. It oscillates between fiery futuristic hostility and calm, and
the pop sensibilities. It has an ending that partially serves to transition into the following track. "Closer To The Sun" is
more somber overall, a very dance-like track that brings the focus back around to the ambient pop vibes of "Lights
Out". It's a track of beautiful, atmospheric and poppy post-rock, completed with great guitar and keyboard solos. "The
Raging Against The Dying Of The Light Blues In 7/8" is the longest track on the album. It's full of energy outbursts and
soft moments. It's a highly enjoyable hard rock song, energetic and captivating. It's a blistering track that should more
than satisfy those looking for the pure prog on this album. "Nice Day For It..." is another dynamic and harmonically rich
rocker. This is a real progressive rock track which contains certain musical elements you also hear on "First Day" and
"Heartstrings". It's another track with some heavy "Milliontown" influence, being mostly instrumental. "Hypoventilate"
suggests some kind of a sequel to "Hyperventilate" of "Milliontown". It's a very short track like "First Day". This is a
transitional track that leads us into the last track. "Last Day" is a soft, lovely piece only containing vocals and piano. It
obviously reimagines the sentiments of "First Day" to give the full-length a sense of meaningful conceptual continuity.

Conclusion: With "Falling Satellites", Frost* has managed to create a beautiful and entertaining album that cannot
really deny its pop origins. The basic ideas of the pieces and the melodies can often be imagined as pop songs, but it's
an album that is progressive above all because of its clever mix. Godfrey proves himself to be a great producer and
true keyboard wizard and he also cuts a good figure as a singer. Together with his top-class accompanists, he turns
"Falling Satellites" into a real fantastic bundle of energy that can be described as an unexpected surprise coup. It's an
exciting, always surprising album, on which there is a lot for prog lovers to discover, even if it can never really keep up
with the two strong previous albums. It's undeniable that there is a pop influence on "Falling Satellites". In many ways,
Frost* has once again redefined what is "modern" prog and they've done it with gusto and pomp and a smile on their
faces.

Prog is my Ferrari. Jem Godfrey (Frost*)

HIGH TIDE Sea Shanties (Heavy Prog, 1969)

Mon, 5 Oct 2026 11:57:34 EST

Review by DimitrisTheHead — Truly mind blowing album. Arguably one of the most manifold records from the dusk of that decade.

HIGH TIDE have been one of the most important underground rock acts of that era. This album really blew my mind
the first time I heard it. I almost did not believe that it released in 1969. Very few bands were so heavy back then.
HIGH TIDE is so damn heavy, it really pisses me off that I can't recall a single magazine or online "list" of proto-metal
bands that mentions these guys.

You can find fragments of early doom in songs like "Futilist's lament" & "Missing out". You can hear neoclassical
influences on the guitar riff on "Walking down their outlook". Also, on the same song, listen carefully the guitar lick on
2:20 (Judas Priest anyone?!?!?). And that violin... Majestic. Enchanting. Listen to "Pushed, but not forgotten". Amazing
stuff, honestly.

Some people may say that the [&*!#]ty production fits with the music and the atmosphere, I say it steals the music's
grandeur.

AETHER III (Post Rock/Math rock, 2026)

Mon, 5 Oct 2026 10:46:01 EST

Review by memowakeman — Review originally posted at www.therocktologist.com

A third exquisite offering.

The talented Italian quartet Aether is back with an incredibly solid, mature, refined, and creative album, one that
fans of jazz fusion, progressive rock, and music that appeals to the senses will enjoy from beginning to end. Across
43 minutes and six tracks, the musicians treat us to a series of sonic landscapes that range from relaxing to
frenetic, from atmospheric to deeply sensory, moving seamlessly between rock, post-rock, ambient, and classical
music.

It all begins with "Oort Cloud," whose opening seconds are atmospheric and otherworldly, creating a contemplative,
dark mood. Little by little, new elements and sounds emerge, making you feel as though you are floating through
space, caught somewhere between uncertainty and curiosity, until everything erupts at the 2:30 mark and a new
rhythm takes over, retaining that dark sound that at times reminds me of early-70s King Crimson. As the minutes
go by, the band introduces more colors, with the keyboards becoming a crucial element. Nevertheless, the
atmospheres created by the bass, guitar, and drums come together to form a truly fascinating sonic experience.

Next comes "Vogon," where the bass maintains a steady pulse while the guitar, keyboards, and drums appear here
and there, gradually moving from uncertainty toward a sense of resolution as a distinctly jazzy melody begins to
take shape. The very distinctive voice of the theatrical Claudio Milano emerges to recite a poem, creating one of the
album's most unique moments. Shortly after his voice fades away, the music explodes, and jazz gives way to rock,
with Andrea Ferrari's guitar charging forward like a whirlwind of emotions, compelling you to move and simply
enjoy the music.

The sonic landscapes shift in fascinating ways on "Cinq Teintes, Quatre Cadres." It begins by creating spacious,
otherworldly soundscapes that, after two and a half minutes, take on an almost psychedelic essence, thanks first to
the hypnotic bass of Andrea Grumelli, who guides the way as the guitar, synths, and drums deliver a daring and
wonderful blend of space rock and jazz. This is one of my favorite tracks on the album.

"La M]]>�literary-inspired passage. Beyond the blend of jazz and classical music brought to life by the piano, I love the
fretless bass and its wonderfully fluid, graceful notes. I am also particularly fond of the deliciously sensory
percussion Matteo Ravelli plays at the beginning, which he later contrasts with his electronic devices.

Another majestic moment arrives with "Panta Rei." Its eight minutes unleash the quartet's imagination and
creativity, showing us that after three studio albums, these musicians understand one another exceptionally well
and flow together naturally, not only as accomplished instrumentalists but, more importantly, as a band. And
although there are several darker, denser moments, I love the balance they achieve, as we suddenly find ourselves
immersed in passages that feel bright and full of promise. At one point, they even reminded me of Focus. And yes,
progressive rock is very much present here.

Finally, the album reaches its brilliant conclusion with "Swerve." Over the course of its ten minutes, Aether delivers
the climax of the entire work, a clear testament to the evolution of their sound and their boundless creativity. The
band brings together a rich mix of genres and emotions, allowing listeners to immerse themselves in progressive
passages, profound atmospheres, and enveloping, emotionally charged textures. The rhythm and intensity
gradually build from the halfway point onward, creating a sonic spectrum that makes you want to move with the
music, feel it, savor every moment, and truly make it your own.

Congratulations to Aether on such a solid release. I absolutely loved it.

BOARDS OF CANADA In a Beautiful Place Out in the Country (Prog Related, 2000)

Mon, 5 Oct 2026 08:52:59 EST

Review by Logan — Looking Beyond The Beautiful Space Out in the Country

The short-form record tends to work on a different logic than a full LP. I value EPs that carry their own weight as intentional, self-contained pieces rather than just acting as a way to repackage existing music for sale.

Much like a short film, an EP can use its brevity to settle into a specific mood or texture, without needing to extend those ideas across the length of a full studio album.

Godspeed You Black Emperor!'s Slow Riot for New Zero Kanada does this well, letting tracks like "Moya" and "BBF3" create a heavy and distinct presence in under thirty minutes. Boards of Canada seems to approach the format similarly. A record like In a Beautiful Place Out in the Country does not feel like leftover tracks -- it works as an independent soundscape where the brief runtime is used for deliberate atmosphere.

An important aspect of In a Beautiful Place Out in the Country is that these tracks do not appear on other major releases, which makes the EP an essential piece of their discography rather than a minor supplement. It stands out as one of my very favourite EPs. Listening to it highlights a beautiful and mysterious ambient density built on a sort of melancholy, discomforting and comforting nostalgia.

I especially adore the tracks "Kid for Today" and "In a Beautiful Place Out in the Country" but I think the whole record is superb taken as a whole. "Zoetrope" did not at first appeal much, but during consecutive listens I got how its minimalist ambience worked with and added to the rest of the release. It helps to demonstrate how their use of repetitive, cyclical structures can reveal deeper qualities when one sits with the textures over a period of time. That highlights to me how a track can reward patience.

I give it 5 stars as one of my most essential EPs.

EAST OF EDEN Mercator Projected (Eclectic Prog, 1969)

Mon, 5 Oct 2026 07:44:06 EST

Review by DimitrisTheHead — One of my favorite albums of 1969 hands down. So many styles of music one can find here. Blues, psychedelia, jazz,
classical, rock. All of them combined to provide a sample of proto-prog in the late 60s British scene.

Songs like "Isadora", "Waterways", "Bathers", "Moth" are majestic. Geoff Nicholson delivers some really beautiful and
heart-warming vocal harmonies. But, Dave Arbus steals the show here. With his electric violin and his flute, he blesses
our ears with some enchanting melodies.

This album really could be close to perfect, if it weren't for those free jazz/improvisations on the songs "Centaur
woman" & "In the stable of the Sphinx" which in my opinion kind of mess up a little bit the whole atmosphere of the
album.

Nevertheless, this is a really strong album, that the fans of the early prog rock era should check out.

VIMMA Meri ja Avaruus (Prog Folk, 2019)

Mon, 5 Oct 2026 01:48:43 EST

Review by Fercandio46 — When I first heard a few tracks by this Finnish band, I gradually realized that what captivated me was the blend of
King Gizzard & The Lizard Wizard's irreverence toward musical genres, an approach that, while experimenting with
them all, still respects them and follows their rules. I was also reminded of The Cardigans: a mix of tradition and the
past, combined with a freshness where technology, jazz, and a unique brand of pop came together. Their debut
album opens on a serious note with classical piano and violins, key elements of their sound, and the magical voice
of Eeva Rajakangas; on the track "T]]>�truly special moment. Kadenssi reveals the strong influence of Nordic traditional music, austere, profound, and
almost sacred, and Celtic music, danceable and luminous, sharing a common thread in that both border on the
mystical.

With the fourth track, Kahdeksas p]]>��piece lineup, featuring two violins and a saxophone, where the true fusion begins. A folk atmosphere, driven by the
flute, occasionally evokes the folk-rock sound of Jethro Tull; yet, modern drum loops and Eeva's spoken-word vocals
merge into a blend of jazz, funk, and punk. Add to this a dissonant chorus and a distorted, psychedelic cabaret vibe,
and it feels as though we are witnessing a whole new album within the album itself.

"Planeetta" plays with space and silence; Eeva's voice sings and then recedes, as does the piano, eventually
revealing a jazz-infused atmosphere driven by violins and saxophone, lending the track a distinctive character. It
then returns to Celtic roots, yet approaches them not in the traditional manner, but with a rock and funk sensibility,
featuring a syncopated, irregular rhythm.

"08" continues with the distinctly postmodern vibe created by Eeva's spoken vocals, almost prophetic in tone, which
has become a signature, recognizable style for the band. Just as Pessi Jouste's classical training is evident in the
violin work, Aino Kallio's influence shines through on the piano; at times, the music evokes the atmosphere of
chamber music, at others, Eastern and jazz styles reminiscent of Hiromi Uehara, or even the experimental
approach of Alain Rochette (from the band Present). When the sound grows heavier, it becomes dense and dark,
yet the strings and Eeva Rajakangas are always there, ensuring we never quite plunge over the precipice.

"Tarina" ventures into new territory; while Eeva sings and phrases with great freedom, she does so in tandem with a
band that evokes the anarchic melodies of the Lounge Lizards, until the violins launch into a sort of tango
reminiscent of the track "Palmiers En Pots" by the Belgian group Aksak Maboul. It is not even far-fetched to draw
parallels with the Rock in Opposition scene; one can even detect traces of the early, defiant Bj]]>�bass-clarinet blues of Jaakko Arola.

"Vesi" evokes a violin-infused cabaret sung by Ute Lemper, yet the arrangements steer the sound toward danceable
rhythms infused with punk currents, waves that surge in and recede. The band adapts perfectly to this variety of
styles, skillfully navigating the challenge of maintaining overall cohesion. They stand as an impenetrable,
unbreakable shield, much like the Baltic Shield, reflecting that Nordic light which lasts for months; a duration that
pales in comparison to the enduring scope of their musical and artistic vision.

ECHOREC. The Island (Neo-Prog, 2020)

Sun, 4 Oct 2026 16:32:09 EST

Review by Agnenrecords — Echorec featured in Prog magazine 106 (February 2020) in an article titled 16 bands to watch this year, before their
debut album The Island had even been released. Currently based in Bath, the trio easily deserve a place in that list
because The Island is an incredibly mature offering. They even had the audacity to attempt, and successfully pull off
a subtle interpretation of the end section of Pink Floyd's Echoes during the 17 minute long closing track The Lamb
Returns ? Pink Floyd, listed as 'an artist we also like', being one of the leading exponents of the Binson Echorec
analogue delay effect which provided the young band with their name.

Made up of Julian Kirk (vocals, guitars and keyboards), Brad McGinty (bass, vocals) and Jake Aubrey (drums and
percussion), there's no compromise in the quality or quantity of either lead instrument; Kirk is a genuine multi-
instrumentalist who can play stately Gilmour-like guitar but also does an admirable impersonation of Tony Banks
playing a fluid ARP solo on The Cinema Show. Despite being momentarily reminded of David Surkamp on Safe at
Home (the epigrammatic opener The Water is a piano instrumental) I declined to look for comparisons with Kirk's
vocal style because his voice simply seems to fit well with the music. McGinty and Aubrey are also both very capable
musicians, meting out inventive rhythm patterns during staccato riffing or bubbling and bouncing along in the
melodic sections - this is the essence of the music, it's primarily melodic, it's not derivative, it has plenty of changes
and uses a broad palette to produce a nicely-balanced modern prog sound with classic touches.

The Island is a concept album that relates the story of a teenage girl's journey of self-discovery. Raised on a
lighthouse rock by a single mother who is reluctant to grant her any freedom, she flees to the Island in search of
her father. The truth is finally revealed in the epic The Lamb Returns, that her nuclear family fell apart following the
early death of her older brother. It's hard to believe that the story isn't personal ? it's well constructed with suitable
imagery of yearning, hope, doubt and resolution ? and it's certainly a bold move on a debut release.

It's not really a big issue because the entire work is thoroughly commendable, but I don't think the lyrics, which
work fine as part of individual song structures and as an overarching narrative, fully rise to the challenge of telling
such difficult themes.

Stuck in the middle of a pandemic, a streaming-only release is not unreasonable, though getting noticed in a vast
industry geared towards rewarding established acts and/or instant gratification isn't going to be easy for a new
band with a debut album. In my opinion, the interest generated by exposure through Prog magazine should be
maximised by investing in a physical product to be ready for the merchandise stand when gigs resume. I'm pretty
sure that Echorec's music will be greeted favourably by the prog community.

Three and a half stars

JORDAN RUDESS Wired for Madness (Crossover Prog, 2019)

Sun, 4 Oct 2026 14:09:03 EST

Review by Agnenrecords — I was given the opportunity to review Jordan Rudess' WIRED FOR MADNESS before I'd ever listened to a note played
by Dream Theater and equally shocking, I always used to skip over articles about the band in magazines and books.

One good thing is that I was able to approach this review, for the keyboard player's fifteenth solo outing, without
any idea of what the music would be like, although it's obvious that I've harboured preconceptions about the band
he's most associated with. Another thing on the plus side, I know that Rudess is admired by musician friends whose
opinions I respect, one of which lent Rudess his Kurzweil K2600 keyboard for a couple of performances organised
by the Italian Dreamers during a Rudess family holiday in Italy around the time of Feeding the Wheel. The K2600
still bears Rudess' autograph.

The album cover design neatly encapsulates the story behind the title track, an individual who accedes to becoming
partially computerised and as his human self is reduced, he undergoes a procedure to upgrade his mental and
physical capabilities. As a result he becomes increasingly separated from the outside world with his computerised
portion performing the majority of his routine functions, allowing his mind to travel freely between madness and
spiritual enlightenment.
In a nod to previous prog epics, the track is split into two parts with a total running time of over 34 minutes and
maintains a high tempo throughout. Without any Dream Theater reference points I have struggled to draw
comparisons but in terms of wild, creative conceptuality and sheer musical density it comes close to Patrick Moraz's
Story of i. It could easily have been dreamt up in 1974 and serves as a tribute to the 70's progressive rock keyboard
players who influenced Rudess, Rick Wakeman, Keith Emerson and Patrick Moraz included. Having never heard his
playing before I had no idea how good Rudess was, with elegant rhapsodic piano, authentic Hammond organ tones,
and sinuous synthesizer runs. The modern sounding keyboards remind me of Eddie Jobson's work on the debut UK
album and, when the rhythm section gets into a modern-jazz mood, like Dave Stewart on National Health's
swansong DS al coda. I'm not a huge fan of the lyrics but they serve the composition well and, delivered by Rudess
himself (apart from guest female vocals from Marjana Semkina in the role of an angel, and Dream Theater
frontman James LaBrie at the climactic end to part 2), they are well sung. The track is heavy at times but there are
sufficient strong melodies and tonal variation, almost all played at a frantic pace, to keep the listener interested. It
goes without saying that his guest musicians are all of the highest calibre.

With Wired for Madness parts 1 and 2 taking up more than half of the album and close enough to being able to fill a
single traditional LP on their own, the remaining tracks run the risk of acting as filler, though this isn't really the
case. Off the Ground is a straightforward pleasant, mellow, reflective piece, a welcome respite from the onslaught
that's just taken place, but Drop Twist once again picks up the pace following an early arcade game-like intro. It may
not be prog as we know it but the short instrumental allows Rudess to show his chops. Perpetual Shrine could
almost be Drop Twist part 2, but if anything it's busier and funkier. It wouldn't sound out of place if it was used as
the theme music for an 80s TV detective series based somewhere in Florida...
The one track that feels to me to be there to make up the numbers is Just Can't Win. I'm being unfair because I'm
not a fan of the Blues, but it performs a similar function to ELP's Tiger in a Spotlight, a moment of relief from the
technical bombast but still a little self-indulgent. Here Rudess utilises the guitar talents of Joe Bonamassa and
incorporates a full brass section; as a blues-rock song it can't be denied that it pushes all the appropriate buttons.
Just for Today is another reflective, slow-paced number but it includes sweeping cinematic strokes before it gives
way to the jazzy Why I Dream where the vocal phrasing reminds me of Supersister or Jeff Berlin on Gradually Going
Tornado.

Wired for Madness showcases Rudess' excellent playing and I believe he's pulled off something spectacular with the
34 minute title-track, an excess to rival anything from the 70s. It wasn't nearly as heavy as I'd feared but covers the
whole gamut of prog and prog-related styles, with melody, rather than riff taking the lead. Furthermore, the pacy
compositions that bookend the recording makes it sound as though the whole writing, playing and recording was
fun.
Three and a half stars

JON ANDERSON The More You Know (Prog Related, 1998)

Sun, 4 Oct 2026 09:50:52 EST

Review by Hector Enrique — Throughout his career, Jon Anderson has not limited himself to the paths of progressive rock. His constant exploration of
diverse musical languages - in search of new textures and nuances and free from conventional constraints - has led him
to expand his sonic palette and reflect it in musical works of very different natures. "The More You Know" (1998), his
twelfth studio album, is one of those works that strays furthest from the genre that made Yes one of its leading standard-
bearers.

Prioritizing gentle, melodic structures over any display of instrumental virtuosity, "The More You Know" moves, almost
effortlessly, through pop and world music sounds, in which the arrangements and programming form the foundation
upon which much of the album rests. Songs like "Magic Love," "Say Jocky," and "Take, Take, Take" are easy on the ears but
don't seem to offer anything substantial. On the other hand, when the English singer's more spiritual side comes to the
fore, some of the album's best moments emerge, including the melancholic "Heaven's Love" and "Sad," and the jubilant
"Youth" with its ethnic overtones.

Also noteworthy are the arrangements on "Dancing Fool" and the light soul-jazz of "Free (Some Would Say)," underpinned
by the deep, expressive bass of Bobby Jocky, brother of Francis Jocky, who contributes on keyboards and as a composer.
The rest of the album hovers in an accessible average that never quite takes off, with the standout feature being
Anderson's angelic voice, which is in fine form. That's no small thing, but it's not enough to overcome a production that, at
times, feels overly polished.

2/2.5 stars

VON HERTZEN BROTHERS Nine Lives (Crossover Prog, 2013)

Sun, 4 Oct 2026 03:22:46 EST

Review by A Crimson Mellotron — Finnish band Von Hertzen Brothers released their fifth studio album 'Nine Lives' in 2013 through
Universal, having previously caught the attention of the press with the records 'Love Remains the
Same' and 'Stars Aligned'. This quintet plays an interesting crossover of pop, prog, and folk,
offering an eclectic yet accessible type of rock music that definitely has commercial potential but
does not shy away from unconventional arrangements. The album 'Nine Lives' in particular is
subjected to a high-energy, buzzing start, in the face of melodic numbers like 'Insomniac' and
'Flowers and Rust', while its ending resorts to mellower, more atmospheric tones that are explored
on the longer songs 'World Without' and 'Prospect for Escape'. Certain instrumental sections are way
too loud in the recording, especially in the faster tracks in the beginning, but I think this
problem is taken care of in the second half of the recording. The vocals are fine, but some of the
lyrics feel corny, while the album itself strikes you as almost too eclectic, which is probably what
VHB had wanted to do, but this aspect of it may disengage some listeners. I think the main issue
with 'Nine Lives' is the fact that there are very few highlights present. The record is quite solid
overall and the variety of styles covered provides for an engaging listen, but the songs featured on
it are mostly hit or miss.

DE LORIANS De Lorians (Canterbury Scene, 2019)

Sat, 3 Oct 2026 17:45:09 EST

Review by Fercandio46 — As a Japanese band, De Lorians, whether intentionally or not, approach the Canterbury scene from a unique angle.
Their sound is more experimental, linking them to the musical anarchism of both Koenji Hyakkei and Frank Zappa.
One could describe their musical direction as driven by a trio of instruments: guitar, saxophone, and keyboards.
"Daytona" nods to all these influences, ranging from pure jazz to the classic Canterbury keyboard sound. By the time
"Magso" begins, the mood darkens, evoking Soft Machine, complete with saxophone riffs that lend a Piazzolla-esque
aura to the final mix.

"A Ship of Mental Health" kicks off with dissonant, magnetic polyrhythms; psychedelia and jazz-rock blend together, as
if in a cocktail shaker, until they become one, yet they aren't the only ingredients in the mix. There is a chaotic sense
of humor, undoubtedly inherited from their "Rock in Opposition" and Zeuhl influences, with traces of Samla Mammas
Manna evident. Free jazz and funk merge in a style reminiscent of Gong, and the quintet sounds incredibly tight and
cohesive, without sacrificing any sense of freedom or freshness.

"Gomata" reaches new heights, driven by the keyboards, which truly open up new sonic vistas, while the saxophone
weaves invisible threads in the background, enriching the sonic depth and setting the stage for Roccotsu to launch
into a highly evocative brand of space rock; indeed, the uptempo funk of the keyboards and saxophone that follows is
perfectly suited to giving this space-age psychedelia a fresh identity.

"Himalia" is one of the strangest and most interesting tracks; Genki Goto's bass, combined with a distorted keyboard
that mimics a violin, gives it a sound reminiscent of the band Egg during their most frenetically intense moments.
"Toumai" captures the band's essence: a sophisticated, free-flowing jazz sensibility fused with distorted, experimental
rock, driven by either guitar or keyboard, that streaks across the sky like a line, eventually connecting with another to
form a rainbow (the kind that appears only when it rains and the sun shines simultaneously). Reconciling this
apparent contradiction, the blend of sensibility and madness, may well be one of the keys to the Canterbury scene
style we see here once again.

RUNAWAY TOTEM Runaway Totem feat. Andromaca: Metaphorm Tetraphirm (Zeuhl, 2025)

Sat, 3 Oct 2026 11:29:15 EST

Review by Cicero 3.14 — Among the recent live albums I've had the chance to review, some were accompanied by choreographed
performances that are hard to appreciate when you only have the audio. Yet, combining dance with
prog for a unique evening seems to be a growing trend. This was the case for the wonderful live
album by Ana]]>�band with such a unique approach?fit in?
Founded by Roberto Gottardi in 1988, RT has 14 albums to its name, including two live releases. This
is the third?a double album. Initially classified as Zeuhl, RT was already transcending the genre
when I saw them in 2015. At the time, the vocalist was Raffaello Regoli (frontman of Cormorano, whom
I reviewed recently), and I was somewhat disappointed when I met the band the day after the concert
and they asked for my opinion. In fact, I believe that having multiple creative forces involved
requires a catalyst that is difficult to achieve. Roberto is now solely at the helm; this album
offers greater coherence in showcasing the project's ambitions, and Andromaca?an experimental
Italian duo featuring Antonella Suella (vocals) and Stefano Bertoli (keyboards, programming,
Ableton)?proves to be an excellent partner here. CD1 is titled *Searching for a New Dimension*; in
his brief stage introduction, Roberto mentions Krautrock, and that is indeed where one should look
for points of reference. Electronic and psychedelic sounds, infused with Indian percussion and
featuring distinct, unexpected nods?such as Pink Floyd's "On the Run" or Tangerine Dream's
"Stratosfear"?blend naturally into this continuous 45-minute sequence. The final section, with its
guttural incantations, brings this first journey to a powerful and deeply soulful close. CD2, *On
the Edge of Space and Time*, offers a series of tracks interspersed with Roberto's spoken
introductions; it includes "Heliocentric Energy," an enlightening vocal-versus-synth duel?a far cry
from the Page/Plant dynamic! I'll wrap up there, as "enlightening" is exactly how I felt after
listening to this album. Two hours spent in another world...

Originaly published in french on Prog censor's FB pages

HAKEN In a Fever Dream - EP (Heavy Prog, 2026)

Sat, 3 Oct 2026 08:49:39 EST

Review by alainPP — This EP marks a period of reflection following the departure of two band members, including Charlie. So, is it a
transition or an evolution?

"In a Fever Dream" is a gentle, melancholic acoustic track with whispered vocals, a fragile sound that develops into
atmospheric djent metal with thunderous riffs and trip-hop influences. The lyrics explore a sense of disorientation
?a sign of things to come? The contrast with the drum polyrhythms and savage growls, the restrained, solemn
crescendo, and the surprising Ross, is striking. "Delirium" features a piercing, syncopated riff over an industrial beat
and a Haken-esque chorus. The djent element returns on this tightly packed, flawless track, culminating in an
explosive, exhilarating outro that launches into "Eclipsed by You," a slow-tempo track that veers between staccato
metallic vocals, a deafening groove, and progressive keyboard electronics. The track is linear and highly
professional, a testament to the innovative nature of this song, which balances unbridled gentleness with
restrained violence.

"Bleeding Sky" boasts a subtle, syncopated groove and the ever-present vocals, a hallmark of this band. An ambient
break reminds us that HAKEN has a distinctly modern prog-djent metal signature with its hypnotic crescendo. The
crackling pads give way to cinematic, bucolic bird sounds. "Lotus," with its ethereal piano, offers a gentle opening; a
captivating, hypnotic sound with an oppressive groove. The djent guitar enters over Ross's distant, trembling growl.
The alternation between the break and the long, atmospheric drift sounds like a fresco faded by time, lacking in
ferocity, and Ross's falsetto reinforces this ethereal, post-rock feel.

HAKEN returns to visceral, more technical prog-metal. A deceptively complex album, far more intricate than it
initially appears.

MYSTERY One Among the Living (Neo-Prog, 2010)

Sat, 3 Oct 2026 08:20:27 EST

Review by A Crimson Mellotron — 'One Among the Living' is the fourth studio album released by Canadian band Mystery, and to this day
it remains one of their most appreciated and recognizable works. A complex conceptual record, this
elegantly arranged LP offers a melodically-inclined style of neo-progressive rock that is informed
both by the genre's progenitors, and by the glamorous sounds of the 80s AOR/pop rock scene in the
UK. Fans of contemporary neo-prog shall recognize many of the traits shared by bands like Pendragon,
Galahad, and Arena, in the melodic guitars, opulent keyboard textures, and that fine blend between
symphonic music and traditional rock instrumentation.

The arrangements are intricate and the soundscapes are lush, while the overall atmosphere of 'One Among the Living' seems to be brooding, epic, and even theatrical. And while there certainly are strong ideas with solid execution, 'One
Among the Living' often feels like something you have already heard, offering familiar sounds that
perfectly fit the neo-prog landscape of the late 2000s. I lack a bit of edge and novelty with this
album, even if the emotionally-loaded performances of singer Benoît David are tremendous and praise-
worthy. The songs 'Wolf', 'The Falling Man' and the title track might be the strongest entries here,
whereas most instrumental sections in 'Till the Truth Comes Out' and 'Through Different Eyes' are
quite excellent, too. The rest is way too mellow for my taste, but enjoyers of the neo-prog subgenre
will definitely have plenty of gorgeous material to explore on this 2010 Unicorn Digital release.

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

Sat, 3 Oct 2026 08:00:19 EST

Review by Second Life Syndrome — Originally written for theprogmind.com

The Emerald Dawn are back with Volume II of their epic, The Land, the Sea, the Air. The band has produced
consistently, with increasing quality, over the past decade, and that continues here. This might be my favorite
album from them (maybe second favorite after To Touch the Sky). Regardless, more people need to give them
a shot.

The Emerald Dawn comes to us from St. Ives, UK. They are four-strong, having the same lineup for the last
seven years or so. The players are Ally Carter on guitars, soprano and tenor saxophones, and keyboards; Tree
Stewart on vocals, keyboards, flute, handSonic, and Roli Seaboard; Dave Greenaway on 6-string bass, and Tom
Jackson on drums.

They play progressive rock that avoids the cliches. The songs are atmospheric and organic, not to mention
quite lengthy. They sound like they could be straight out of the 70s, yet their sound is ever fresh to me simply
because they don't really sound like anyone else. Their music is ethereal, mystical, spacious, and even a bit like
a folk ritual at times.

By now, everything about their sound is like comfort food for my soul: Ally's growling guitars, Tree's illustrious
keys and flute, Dave's energetic bass, and Tom intricate drumming. There's a reason why all four of them end
up in my top musician features every time they release an album: they are amazingly skilled players who value
expression over technicality, authenticity over plasticity. And for my money? Tree has probably laid down the
best keyboard performance of the year, swooning and flowing with clarity and majesty. All of the
performances are incredible, though.

The Land, the Sea, the Air (Vol II) follows the first volume from 2025, which I rather liked. But I think this one is
stronger. It has only three songs, in true Emerald Dawn fashion. The first one is called 'Song of the Rainforest',
which is twenty-one minutes long. And yet, it is one of my favorite songs by the band to this point. This lengthy
instrumental piece is so atmospheric, but somehow also so groovy. The song pulls you into its foliage, and
underneath those trees is plenty of searing synth, amazing sax segments, gorgeous melodies, and hypnotic
portions that feel otherworldly. I particularly love the precious minutes towards the end that hover with smoky
flute, like a spellbinding incense rich with emotion.

The second track is 'Rivers of Tears', which is fifteen minutes long. This one took a little more time for me, but
I've come to love the focus on piano. It has a bluesy, funk-oriented sound at times, and much of it is reserved
and building towards something. The song is structured with more energetic portions in the middle and the
end, and each half has its own character, one being piano expressions and the other being more sinister. It's a
brilliant track.

The final track is called 'Paradise', being about nine minutes long. And you know what? It's yet another favorite
from the band. I can't get enough of it right now, actually. It's the most 'normal' song on the album, featuring
great vocals from Tree, who also plays her cosmic heart out on the keys. Seriously, this track is both incredibly
groovy, almost making me what to dance (almost), but the layers of keyboard melodies, the catchiness of the
hook, and the final minutes of sheer instrumental glory are like celestial medicine for the mind. What a finish!

The Emerald Dawn are seasoned musicians, yes, but they are passionate artists who truly feel the flow, taste
the melody, visualize the color, hear the beating heart of it all. The Land, the Sea, the Air (Vol II) has some of
their best work, both calming and foreboding at times. It is a balanced, well-written record that makes you
want to start it over again as soon as it ends.

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

Sat, 3 Oct 2026 01:53:32 EST

Review by KansasForEver4 — Scotland's most famous band returns in the early fourth quarter of 2026 with its ninth studio album, "A Song for
Tomorrow." It is a soundtrack that traverses the Bible, politics, technology, and the (all-too) many conflicts around
the globe to explore what lies behind sensationalist media headlines?namely people, their relationships, their
emotions, and their experiences.

"A Song for Tomorrow" presents the dichotomy between our inner selves and the image we project to the world
around us: our dreams, the reasons we get up every morning, our falls and recoveries?everything that ultimately
defines the human being.

PALLAS has chosen a range of themes encompassing environmental collapse, digital surveillance, fracturing
relationships, and the unsettling noises of our daily lives. It is a record that showcases the voices of all four band
members on equal footing, with each contributing both lead and backing vocals. Did you like the artwork for "The
Messenger"? Rest assured, this one is even better; the liner notes reveal nothing about the current hot topic?AI.
Mike Bentley is considered the fifth member of PALLAS.

The album opens strongly with "Reset" (9/10)?the shortest track on the record, yet one of true beauty that flows
effortlessly. It segues into "Rage," a more muscular, almost metallic, and slightly longer track?a piece where Niall
Mathewson proves, if proof were needed, that he is a master guitarist (9/10), delivering a sound reminiscent of a
wild, Rush-esque soundtrack. "A Song for Tomorrow"?the title track?features the childlike vocals of Natasha
O'Neal (who also collaborates with Niall on other musical projects); it is a very calm track until the 4:34 mark, when
it intensifies somewhat in the finale, driven by layered backing vocals (9/10). Next up is the epic "The Private
Collector," clocking in at over eight minutes; it places Pallas back at the heart of the symphonic progressive rock
style the Scottish quartet has mastered since its early days (revisit "The Sentinel" or "The Wedge"?this track is very
close to that sound, perhaps leaning more towards the latter). It is a timeless gem?nothing more needs to be said
(10/10).

The next two tracks, "Dirt" and "Aspirations," are of similar length and tempo; it is hard to say which I prefer. "Dirt"
is more accessible and commercial (reminiscent of certain tracks on *The Cross and the Crucible*), whereas
"Aspirations" is gentler, featuring quasi-religious backing vocals and Graeme Murray's twelve-string guitar taking
center stage (9/10 for the former, 8/10 for the latter). "Rushing Headlong" is far more frenetic?another short piece,
and thankfully so, as it was the only track on the album I genuinely disliked; it is chaotic?a term I sometimes use?
and messy (6/10).

The final three tracks?comprising a third of the album's total runtime?represent the very best of the symphonic
progressive rock genre, of which Pallas has long been a leading light. First is "The Avenue of Broken Dreams,"
featuring a slow rhythmic build-up, Ronnie Brown's atmospheric keyboards, and Niall Matthewson's guitar work?
lyrical, inventive, and tastefully restrained. A musical delight (9/10). Then, the shorter, calmer "Mother" (8/10) serves
as a breather before what follows: the concluding track, "Inside Outside." This piece distills the very essence of what
has defined PALLAS for decades into just over nine minutes. It is a melodic ascent showcasing the musicians at their
peak, featuring the kind of soaring lead vocals and magnificent backing harmonies we love, alongside top-tier
symphonic elements (10/10).

As a side note, the absence of a real drummer didn't bother me in the slightest; Niall and Ronnie split the
percussion programming duties depending on the track. It will be interesting to see how this translates to the stage
during the band's final tour in a few weeks, as Alan Reed's illness is forcing the Scottish group to cease live
performances.

OPETH Ghost Reveries (Tech/Extreme Prog Metal, 2005)

Fri, 2 Oct 2026 20:12:05 EST

Review by Hector Enrique — Shifting from the brutal to the delicate within a single song - one of the hallmarks that Opeth handled with ease - reached
a turning point with the groundbreaking "Damnation" (2003), an album that almost entirely dispenses with the hostile
sounds of extreme metal to embrace the most melodic aspects of '70s progressive rock. A risky decision that, despite
initial concerns, demonstrated the band's versatility in moving confidently between different musical styles, while leaving
fans and critics alike wondering about the direction the band would take in the future.

With "Ghost Reveries" (2005), their eighth album, the Swedes once again use death metal as one of the fundamental
elements of their sound, integrated with progressive components that are far more developed than in their previous
works. Mikael ]]>��evoke extreme bands like Morbid Angel, the more experimental Tool, or the classic Black Sabbath, among others - and a
powerful instrumental foundation alternate and blend with deep, clean vocals, crystalline acoustic elements, and Per
Wiberg's hypnotic and cosmic keyboards, to construct a sonic tapestry of contrasts and shifts in intensity that moves
naturally between ferocity and a hypnotic, enveloping melancholy.

"Ghost of Perdition", "The Baying of the Hounds" - featuring evocative Jon Lord-style organ - and the oriental-inspired
"Beneath the Mire" unfold across expansive instrumental valleys and peaks that showcase the band's maturity, and find
their full expression in "Reverie / Harlequin Forest" - featuring superb clean and harmonic phrasing by ]]>�above all, in the ritualistic and intriguing "The Grand Conjuration" - reminiscent at times of Pink Floyd's "Echoes" - the
album's finest moments.

And the influence of "Damnation" is also present and can be felt in the tremulous "Atonement" and "Hours of Wealth,"
with their keyboards and a certain jazzy flair, and in the closing "Isolation Years," with its acoustic and dreamlike
character, featuring ]]>�Reveries", one of Opeth's finest albums and standing alongside the iconic "Still Life" and "Blackwater Park".

4/4.5 stars

PEKKA STRENG Kes�maa (Prog Folk, 1972)

Fri, 2 Oct 2026 18:51:41 EST

Review by Fercandio46 — Pekka Streng's music is colored by his personal history, much like the stories of Tim Buckley or Nick Drake, singer-
songwriters who passed away prematurely. Perhaps unconsciously, they gravitated toward that deeply intimate,
heart-wrenching subgenre, the folk singer-songwriter, in which an artist reveals so much of themselves. He was
accompanied by musicians from the Finnish jazz scene, such as Eero Koivistoinen and Pekka P]]>�and flute, respectively); both would later participate in bassist Pekka Pohjola's album Harakka Bialoipokku (1974).
"Mimosaneito" ventures into jazz, yet the mood shifts to something more intimate and reflective on "Kaukana."
Pekka possessed the power to transport us out of our reality through the sheer magic of his vocal timbre; like
singer-songwriters such as Donovan, he commanded a rich stylistic range, shifting between psychedelic, acoustic,
jazz-inflected, and ethereal sounds, to enter that mythological realm which, at times during the 60s and 70s, felt so
real it was almost tangible.

From the groove-laden pop of the track ...Ja Tuittu Ruusut Sai to a blues piece with a touch of rustic country in
Perhonen. However, it was Pekka's more mystical, mysterious, and inspired side that truly shone when he sang in
Finnish, performing tracks like Auringon Lapsi that evoked distant, almost medieval, times, as if they had reached
us through oral tradition. It was also reminiscent of the early days of Tyrannosaurus Rex, when Marc Bolan favored
an acoustic sound and explored Eastern and psychedelic influences.

As for the title, it alludes to the land in summer, when everything bursts into color and blooms; the summer solstice
is precisely when Juhannus is celebrated in Finland, a time when people traditionally headed to the lakes
throughout June. Both the cover art and the music convey something of this spirit. It ranges from a dark organ solo
on "Kanttorinpoika Max" to the magical "Katsele Y]]>��Baroque-style sopranino saxophone solo.

Roope Hattu reminded me of the freshness and freedom of Bob Dylan's bluesy "The Man in Me", though this was
the Finnish version, transformed by Jukka Ruohom]]>�style of The Band (Dylan's friends and collaborators) into something otherworldly. "Puutarhassa" sports a very
welcome bossa nova vibe that lends itself well to the acoustic format and the album's stylistic, and emotional,
variety, shifting from the optimism of a sunny day... to the introspection of a gray, rainy one, if we are talking about
stereotypes, that is. Though certainly not musical ones.

"Mutta Min]]>��the celesta, that instrument created by the French harmonium maker Auguste Mustel. Resembling a glockenspiel, it
takes us by surprise not only with its sweetness but also with its brevity; it is a piece filled with ambivalence, yet one
that leaves us certain we have heard a genuine expression of the artist's own voice.

HORTE Maa Antaa Y�n Vaientaa (Post Rock/Math rock, 2021)

Fri, 2 Oct 2026 18:51:34 EST

Review by Fercandio46 — As if setting out to provide a soundtrack for the atmosphere of their native Finland, with snowflakes falling and
blanketing everything in White, Horte crafts a hypnotic soundscape using electronic elements and synthesizers.
They create a downtempo vibe that occasionally flirts with Portishead-style trip-hop, yet later reveals a folk-hop
intimacy reminiscent of The Beta Band.

Vocalist Riikka Pekkala's voice seems to float, notably on the opening track, "Pelko Karistaa J'rjen," where echoes
reverberate as "Ilman Nurkka" unfolds amidst samples and loops, sung in their native tongue. In an album defined
by wintry textures and a palette of blues and whites, the track "Kilpemme" seems to mimic a thaw amidst guttural
guitar sounds, evoking a sense of Nordic psychedelia. It is a landscape where we lose ourselves like early polar
explorers illuminated by the aurora borealis; a rock sensibility permeates the electronic modernity of this unhurried
atmosphere, frozen like a block of ice that preserves the life within, holding it in suspended animation,
paradoxically enough.

"Valoa On Liikaa" seems to mark time like a clock; Riikka Pekkala's voice takes center stage, conveying a stark, pale
quality that nonetheless carries an inherent strength. Repetition, acting much like a metronome, sets an
unwavering rhythm for the vocal variations. It is at this point that the synthesizer evokes string sounds and an
emotional peak occurs, as the opposing poles converge.

"The Earth Gives Silence to the Night" is a highly evocative title for the album; "Kun Joki Haihtuu" is a powerful track
where the bass and drums kick in, as if they had been waiting for the moment to break the ice and shatter it into
crystals. These are moods that music used to express differently, perhaps never before so raw and stripped-down,
revealing nature itself at that precise instant when everything comes to a standstill.

"V'isty Tielt'" is the most rock-oriented track, yet it defies convention; it leans into a kind of Krautrock-style
transgression where Riikka Pekkala's vocals, clean and pure, almost like a religious plea, contrast sharply with a
gritty, powerful backing track that advances with a "scorched-earth" strategy, leaving nothing in its wake. As one of
the album's most progressive tracks, everything here sounds analog; there even seems to be a Mellotron-style
choir, despite no actual Mellotron being used, though the sound is certainly processed to evoke that effect. The
highly groovy bassline plays a pivotal role, transforming the song into a prophetic experience.

"Konttaa, Ne Konttaa II" brings the album to a close with echoes and Riikka's voice promising an eternal return, the
certainty that things remain in motion despite appearing motionless, like the trees and all the surrounding nature
of which we, of course, are a part.

BOARDS OF CANADA Geogaddi (Prog Related, 2002)

Fri, 2 Oct 2026 12:36:03 EST

Review by Logan — The ambient, coolly nostalgic opening sequence of Geogaddi indicates the record's direction. Adjusting to the full album required some acclimation after years of listening to Music Has the Right to Children, but many elements appealed to me right away. Taking some distance from the debut allowed this strange, isolated world to make sense.

"Music Is Math" and "1969" rely on steady, ticking beats reminiscent of the D]]>�
My first favourite Boards of Canada album clearly was Music Has the Right to Children, which I found immediately accessible, followed by The Campfire Headphase, which I also found very accessible and liked the eclecticism, though I still loved Geogaddi during that era. However, it was only after Inferno came out that I deeply loved all three final albums, and the early material became more distant to me on the whole.

This record is more like a 4.5 for me, though it gets a rounded-down 4 for Prog Archives purposes. Geogaddi is a strong exercise in sound design, but it remains a step below those late-career masterpieces for me. Inferno, The Campfire Headphase, and Tomorrow's Harvest mean the most to me these days, but all of Boards of Canada's albums I consider to be masterpieces in their own ways.

Key tracks for me: "The Beach at Redpoint" and "Music Is Math".

CARDIACS On Land And In The Sea (RIO/Avant-Prog, 1989)

Fri, 2 Oct 2026 10:58:38 EST

Review by brainsuccasurgery — For far too long, Tim Smith remained the archetype of the artist misunderstood in his own country and simply ignored
everywhere else?the leader of a visionary and essential band that deserved more recognition. Yet we are rediscovering
music of undeniable quality and originality. Over time, CARDIACS has evolved from an unclassifiable oddity to a legendary
band, recognized by virtually everyone (including the British press, which is no stranger to belated revivals) as a major
piece of the global rock puzzle.
*On Land And In The Sea* follows in the footsteps of its predecessor (*A Little Man And A House ...*, 1988), offering art-
rock laced with frenzied madness, but this time without the element of surprise and with, in its first half, a more
pronounced "prunk" vibe?the merry band having saved the best for last with "Buds and Spawn," a psychedelic anthem
that could have been dreamed up in 1968 by a Syd Barrett even more unhinged than usual; and above all "The Everso
Closely Guarded Line," a grandiose psycho-symphonic epic owed in part to Drake, which moves forward through an
electric haze to the sounds of solemn keyboards. Sarah's sudden departure in the spring of 1989 (she would continue to
collaborate sporadically with Tim Smith for a few more years) and, above all, that of William D. Drake two years later
marked the end of an era. Drake was not replaced, and Tim Smith took sole charge of the keyboards, which were
henceforth less prominent.

CARDIACS A Little Man And A House And The Whole World Window (RIO/Avant-Prog, 1988)

Fri, 2 Oct 2026 10:54:28 EST

Review by brainsuccasurgery — Is CARDIACS a progressive rock band? The question, which may have sparked debate at one time, seems obsolete today.
All we can say is that singer and guitarist Tim Smith?the band's longtime leader, its heart, mind, and soul, and now more
than ever regarded as an exceptional English artist, more than five years after his passing?is a child of the vibrant prog
universe that truly lives up to its name. He himself cited among his countless influences such legendary names as
Genesis, Faust, Can, Gong, Zappa, and Gentle Giant?a fact confirmed by the album *A Little Man And A House And The
Whole World Window*.
From the very introduction of the excellent new version of the track "A Little Man and a House," it becomes clear that this
album will be on an entirely different level than *Seaside*, their previous album released in 1983. The compositions date
back to the previous three years, but the production is much richer than on *Seaside* and in no way tainted by the
typical sound of the '80s. Musically, it's a true leap forward, with arrangements of unprecedented richness ("The Icing on
the World"), sometimes bordering on unnecessary excess ("The Breakfast Line," saved by its impressive grand finale). The
significant contribution of William D. Drake's keyboards (who joined the band in late 1983) is no small part of this, as the
musician displays a boundless imagination that rivals Tim's.
Drake also co-wrote two of the album's most progressive tracks: "I'm Eating in Bed," which appears as a bonus track?a
surreal little nursery rhyme that could easily have fit on *Nursery Cryme* or *Foxtrot*; and "The Whole World Window,"
which closes the album in a rather unexpected way, bringing CARDIACS closer to King Crimson's *In The Court* with
heavy use of mellotron, piano, and bombastic organ, thereby convincing us once and for all that this is one of the most
important prog works of 1988.

LIFT Meeresfahrt (Crossover Prog, 1978)

Fri, 2 Oct 2026 09:14:48 EST

Review by Lewian — It is somewhat frustrating about rock from the old communist GDR (East Germany) that the possibility
of censorship didn't only affect the lyrics but apparently also had an impact on the music itself.
People were strongly discouraged to think outside the box, and also to sound outside the box. So
proper innovation was very hard to find if at all. Everyone apparently wanted to (or had to) sound
nice and civilised. In the 70s it was possible to play harder rock music if it clearly referenced,
copied or covered rock'n roll and blues from the west as this was seen as anti western establishment
rebellion and therefore OK (at least at a certain time point), but rebellion against the own
conditions of life in the east wasn't allowed. This also meant that anything more aggressive and
dark couldn't be done in innovative ways and couldn't directly relate to the musicians' daily life,
seriously affecting creativity. Any opposition had to be subtle, often covered by nice melodic
music, often enough straight and easy to listen to, and often of little attraction to the prog
listener 40 years or so later. Lyrics were often poetic and indirect. Innovation could be brought in best
by incorporating classical music
influences, as Electra and Stern Meissen did, and Lift to some extent. I believe that the situation
for creativity was really more problematic in the GDR than it was for example in Poland, Hungary and
the Czech Republic, but I can't know for sure (certainly there was a more lively jazz scene in the
latter countries).

Lift's Meeresfahrt is one of the best albums to negotiate these conditions. It is in fact
astonishing that the major theme of longing for travel and far away countries on this album didn't
create problems with the censors, as far as I know, given that most people were not allowed to
travel outside the eastern communist block of countries.

The album is very melodic indeed, the band doesn't rock hard (OK a little bit in very few places),
but they are good at what they do. Most arrangements are dominated by the two very good keyboarders.
The vocals are also attractive, clean and melodic. The opener "Wir fahrn uebers Meer" is an example
of copying western blues rock. Maybe the band used this to distract the censors, because in my view
it is by far the weakest track. This is followed by the extremely beautiful "Nach Sueden" ("Go
South"). Not the proggiest track, but featuring a wonderful melody, a strong keyboard part, and
lyrics on migrating birds that probably expressed the longing of many young people in the GDR but
were seemingly (and surprisingly) innocent enough for the censors to let the band get away with
this. A highlight!

"Scherbenglas" is an example for the classical influence, using only a string section and voice. No
rock at all but interesting and not bad. "Tagesreise" has an epic melody and works well as
recommendation piece for the prog fan with some contrasts and several sections. The second highlight
of the album.

On the B-side, "Meeresfahrt" (something like "Journey at Sea") is the longest track. It develops
slowly from calm keyboards into a mostly instrumental journey featuring the keyboarders and
saxophonist in particular. This is surely enjoyable even though it may be a bit too long for what it
is. "Sommernacht" is a calm good night song referencing traditional singing. It works well as
ending, even though not very interesting from the instrumental point of view.

"Tagesreise" and "Meeresfahrt" hold most interest from the prog point of view, but the album has
very nice elements also elsewhere if you are into melodic rock. It has light influences from
classical music, jazz and blues. It has good variety but also comes over as consistent featuring a
characteristic style, particularly the melodies and keyboards. The most similar band I can think of is Novalis.
Personally I'd rank this as the
second best GDR prog/art rock album (after Stern Meissen's Reise zum Mittelpunkt des Menschen). 3.7
stars.

Sadly, few months after the release of this album in 1978, band members Henry Pacholski and Gerhard
Zachar died in a traffic accident and the band would never be the same anymore.

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

Fri, 2 Oct 2026 03:55:02 EST

Review by Warthur — This is Jack Bruce's firet solo album, at least in terms of release date - the Things We Like jam
session was recorded prior to this and released as a follow-up. I've never fully gotten onboard with
Cream, and maybe it's Eric Clapton that's the component that doesn't quite land for me, because
between Ginger Baker's work elsewhere and now this I can say I'm more impressed with the other Cream
members' solo fare than Clapton's.

What you get here is bluesy art rock with brilliant bass lines and poetic lyrics by Pete Brown. Some
songs on here ended up travelling widely, with Mountain, Colosseum, and Greenslade covering fare
like Theme From An Imaginary Western or Rope Ladder To the Moon; others definitely qualify as deep
cuts. Either way, well worth exploring.

QUIVIRA Quivira (Symphonic Prog, 2026)

Fri, 2 Oct 2026 01:55:49 EST

Review by alainPP — Quivira?the legendary name of a city of gold, forever sought but never found!
It is also the concept behind an album by Lisa LaRue, who shines on keyboards and piano.

1. (Intro) "The Coming Of The Spaniards" offers a symphonic, solemn, and majestic opening?a melody that
stops you in your tracks. The choirs, the piano, the very essence of the music?simply perfect.
2. "The Benefits Of Breathing Quietly" follows, featuring Vangelis-esque tones?sublime, with a distant, Native
American-inspired breeze. Jake's vocals flirt with the style of Big Big Train; in short, top-tier stuff. The synth kicks
in, riding over violin-like tones; it's simple yet beautiful, with hints of Alan Parsons?nothing but quality here.
3. "The Plains? Truth" features a slow, drifting violin in "space-folk" mode?an airy instrumental interlude?
concluding with an Andalusian acoustic touch that remains captivating throughout.
4. "Quivira Bound" places the keyboard center stage; Jake casts a spell with his distinctive voice?not the late
John, certainly, but his vocals are pure prog. It's an 80s-style ballad with a cheerful air; Lisa brings out a smaller
synth before a Southern-rock/Cherokee guitar spirit floods the room with bewitching notes, with John embracing
his role as an ex-Korgis member. A stereo finale blends the organ with the crystalline piano.
5. "Moving Forward" reminds me of Solstice, featuring a jazzy-folk sound where Joe's violin engages in a musical
duel. KANSAS is definitely present here after all, and the keyboards blend perfectly for one of the album's
surprising detours.
6. "The Turk/Follow The Wind" follows with organ, piano, and violin?sampled or not? That is the question. The
drums aren't credited, implying they are programmed, which takes a bit of the shine off the album. Otherwise,
it's a fine, energetic track that would have been a hit in the 70s! The cinematic ending puts my mind at ease.

7. "Nothing Is Everything" marks the second half of the album?Side B. It has that KANSAS vibe again, with plenty
of piano; softer yet dynamic, it feels like an 80s tune?over 40 years old; is it impossible to invent something new
these days? Anyway, at times I hear ALAN PARSONS in "Andalusian mode"?it's a strange sensation.
8. "Carved From The Sun," with its warm organ, reminds me of SHADOW GALLERY?that's just how it is. The
velvety keyboard work lets the track drift along a smooth, seamless melodic path?paradoxically so.
9. "Kicking Rocks" arrives, driven by a catchy guitar and a heavy riff; then it settles back down for a repeat
performance.
10. "Prelude To Anywhere/Weekend Conquistadors"... is it the spellbinding piano, the violin, or the synth? A
beautiful ballad assaulted by John's hard-rocking riff, with the piano returning to sweep away any lingering
heaviness. A masterful battle between the two instruments?top-tier stuff?with Jake setting things on fire, as
does the PROTO-KAW-style vocal.
11. "Still Breathing," with notes that recall TEARS FOR FEARS?that's just how it is. The final track; instead of
leaving me breathless, it fills me up. A ballad?a lament balancing tenderness and emotion?featuring a violin? a
keyboard? building to a dreamlike crescendo that drifts away on the musical breeze. A touch of Alan Parsons
once again highlights the profound musicality of this final, spellbinding track. Off you go, steed?scram!

QUIVIRA: symphonic progressive rock; a modern myth and vision of our troubled society set to music; melodic
instrumental prog with occasional vocals?very good, yet it also tends to go in circles. Mr. Cadbury really
shouldn't have wandered in.(3.75)