sábado, 30 de junho de 2012

*. Fairport Convention .*

Album: By Popular Request (2012)
Genre: Prog Folk (British Folk)  /  UK

Released to coincide with Fairport Convention's forty-fifth anniversary year, BY POPULAR REQUEST is a collection of familiar songs from the band's vast repertoire, specially re-recorded at the request of the band's loyal fanbase after being polled by the band via email. As the emails came in and the votes were counted, these ten songs emerged triumphantly revealing some predictable choices such as Matty Groves, Meet on the Ledge and Walk a While, but also one or two surprises. Racing towards half a century of music making Fairport's following continues in strength, exemplified by the band's annual knees-up in Oxfordshire, partly due to Fairport's fun nature, partly due to their ongoing musical development and partly due to pure nostalgic purposes. For the nostalgic amongst us, the songs given a make-over here cannot possibly compare with the originals; they're not intended to and they're not expected to, but nevertheless they are performed here once again by popular request as it says on the tin. Bravo to Simon for honouring the request to sing Fotheringay, a song that only Sandy Denny can really sing. Packaged in a sleeve resembling a vintage 1960s 45rpm single, BY POPULAR REQUEST also includes other favourites from the early years such as Crazy Man Michael and Farewell Farewell with Chris Leslie taking the lead on The Hexhamshire Lass, Rosie and Sir Patrick Spens. Edmund Whitcombe contribues some fine cornet playing on a couple of the songs. Reading through the song notes in the accompanying booklet reveals a huge debt to veteran Fairport drummer Dave Mattacks, without whom..  Review by "Allan Wilkinson" (www.allanwilkinson.co.uk).

RATING:  8 / 10

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*. Boule De Son .*

Album: Just'en Passant... (1975)
Genre: Prog Folk (Prog Rock)  /  Canada

Boule De Son's sole album, Just'en Passant is a rare sighting even in its original province, because it was a private pressing and release way back in 75. Originally presented as a work of a duo made of singer-songwriter Sylvie Granger and Daniel Lepage (also on piano), but it's clearly a group album that was released. Can't say the group searched far for an artwork, but at least the music inside it much better thought out and successful. The duo is joined by a quartet of musicians that really bring the project to life and bring another dimension to the music. The group did not hang around long after the album's release, with the drummer Toupin jumping ship to Opus-5 that will record the poignant Contre- Courant later in 75 (and a posthumous release as well), continuing onto Concert, which would also record just one album in 78., but he's the only one to have moved on. The album opens on the upbeat Arc-En-Ciel where Sylvie Granger's crystal clear vocals accompany the recorder of Etheier and Lepage's piano, the track developing in a fine folk rocker with plenty of feeling, setting more or less the tone for the rest of the album. After a short title track, serving as intro to Voler En Rond, the group's folk rock is very Quebecois (no surprise, uh,), despite neutral French vocals. Réveil is slowly leading the group to a more electric and dramatic soundscape, especially in its second part where the Harmonium influences are rather obvious. Did anyone say Depuis L'Automne? Levez Les Yeux is also built as a slow starter but once it is unleashed it is clearly going full rock, this time with wailing guitars, much reminiscent of Skynyrd's Freebird. The flipside is more or less the same type of music as the opening Le Temps Est Venu is yet another slow starting tune that develops into a full rocking track, most tracks gliding smoothly and consolidating the album excellent progressive folk rock formula, somewhat similar to Demi-Heure or L'Engoulevent. Another excellent moment is the album's longest track Apprendre A Prendre (learning to take), starting from cymbal scratches and solemn flute, with serious male vocals (almost a declamation) over the female wailings in the background, this is clearly another highlight in this very surprising album. The album closes with the Choses A. While this kind of private release is generally for amateurish works, in La belle province it simply means that quality groups abounded during the 70's prog boom, and some talents were left without being detected by the international or local labels, leaving few choices but auto-production, which generally lead anonymity; In the view of Ungava, Boule De Son , Agape or Demi-Heure, this is not only a waste, but a shame as well. As for Just'En Passant, the album might not be essential per se, but it's one of those consolidation blocks that help the depth of your collection. Should one day this album find a CD legit issue, no doubt that you should jump on it. 
Review by "Sean Trane" (Prog Archives).

RATING:  8.25 / 10

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*. Special Providence .*

Album: Space Café (2007)
Genre: Jazz Rock Fusion (Prog Rock/Metal/Exp.)  /  Hungary

One of the most specific and powerful band in and around Hungary. The band formed in 2004 from long time friends and musicians of Kobánya Music Studio and Liszt Ferenc Academy of Music, Budapest. The members of the band play in many well known and appreciated groups in Hungary as a session musician and took part in the making of several albums, as songwriter, studiomusican besides Special Providence. The band played a lot of festivals and clubs in Hungary and abroad as well. (England, Slovakia, Romania etc.) Having an approach, by putting music as a priority over virtosistic individualisim, allows the band to represent prog-fusion jazz in a new light. The group is very appreciated in and around Hungary with their virtoso, yet easily digestable style. Having released their first album in 2007 , titled „Space Café“ and then being invited to go on tour with the well established Jeff Andrews (USA) trio having a huge success. They are undoubtable a band highly recommended, with their huge dynamic stagepresonce and aura for any listerner to digest. In 11th of december 2008 they realased the 2nd album titled “Labyrinth” which got very good critics in the international music scene. In 2009 they were being invited to the Jazzfestival of London. (www.allaboutjazz.com)

RATING:  7.75 / 10

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sexta-feira, 29 de junho de 2012

*. An Dro .*

Album: Les Jeux Sont Faits (1982)
Genre: Prog Folk (Celtic Folk)  /  Germany

The sole album from the obscure band AN DRO features Breton, French and Celtic folk woven together with mild rock arrangements and sometimes vague world music nuances. Though the vocals are mainly French and Breton, this album was released on an independent label, probably a vanity release, by a band with virtually no recorded history which has since disappeared into obscurity. "ClemofNazareth" (Prog Archives).

Songs / Tracks Listing
01.Pont Ar Vilin (3:09)
02.Le Pommier (6:05)
03.P Stands for Paddy (4:41)
04.C'Est en Passant La Riviere (2:50)
05.An Dro (3:52)
06.Farewell Air (1:10)
07.Les Jeux Sont Faits (7:34)
08.Sur Le Pont de Nantes (5:06)
09.Hugh the Graeme (4:40)
10.Avalon (6:22)

Line-up / Musicians
Michael Fechner / bass
Werner Vaillant / guitar
Rüdiger Kebe / mandolin, pipes, dulcimer, flute, guitar, glockenspiel
Rita Schmidt / vocals, bodhran, dulcimer, psaltery
Klaus Stammer / vocals, Celtic harp, guitar, cister, whistle, bombard, pipe

RATING:  8.25 / 10

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*. Lucio Dalla .* (Remaster 2012)

Album: Storie di Casa Mia (1971)(Remaster 2012)
Genre: Prog Rock (Singer/Songwriter/Pop)  /  Italy

Volevo recensire un album che merita una giusta attenzione e allora mi son detto: "Ma benedett_ ragazz_, minkia se sono piciu! Perchè non recensire "Storie Di Casa Mia?" Già, "Storie Di Casa Mia", 1971, con quella copertina piena di giallo, è un album storico che contiene bellissime canzoni melodiche caratterizzate da forte lirismo e ampio uso di metafore su testi di Gianfranco Baldazzi e Sergio Bardotti. I testi di "4/3/1943", "Il Colonnello" e " Il Gigante E La Bambina" sono da attribuire a Paola Pallottino. "Itaca", un marinaio si rivolge al capitano per sapere se è un uomo scrupoloso nei suoi riguardi. Il coro risponde con le parole "Itaca, Itaca, Itaca la mia casa ce l'ho solo là, Itaca, Itaca, Itaca ed a casa io voglio tornare dal mare" (Ulisse?). I cori sono cantati dagli impiegati della RCA e pare che i versi finali nella versione originale del brano fossero "ma se non mi porti a casa, capitano io ti sbrano", anzichè " se ci fosse ancora mondo, sono pronto dove andiamo?" come nel disco. "Un Uomo Come Me", autoritratto di un uomo semplice. "Il Bambino Di Fumo", parto della città immersa nello smog. Finale cinematografico. "Il Colonnello" ha una voce roca e rimpiange i tempi passati, perchè il presente è popolato da disfattisti, comunisti e pederasti (per non citare i negri, i mafiosi, gli spacciatori e gli scioperanti). "Il Gigante E La Bambina", riflessione in forma metaforica sul tema della pedofilia. Un breve arpeggio di chitarra introduce "La Casa In Riva Al Mare", storia d'amore vissuta da un carcerato che per questo sogna la libertà. "Per Due Innamorati", presi assieme dalla morte e uniti da Dio, è stata composta questa canzone. Il testo ha una forte impostazione cattolica. "4/3/1943", non autobiografica a dispetto del titolo* e inserita in una ristampa successiva, cantata con piglio da cantastorie, è un commovente racconto intessuto di un forte amore per la vita. "Strade Su Strade" sono quelle che un uomo percorre in "una città che muore" , aumentando le spine nel cuore (rimorsi e rimpianti?). Una donna si vanta di regalare a un uomo in punto di morte "L'Ultima Vanità", ossia guardarla sorridere per l'ultima volta. "Lucio Dove Vai?", brano introspettivo: Lucio non sa più chi è, come sta, perchè ride, ma sa di vivere. Ehi, appunto, Lucio, dove stai andando? 
Recensione di "CJBS" (www.debaser.it).

RATING:  7.75 / 10

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*. Lucio Dalla .* (Remaster 2012)

Album: Lucio Dalla (1979)(Remaster 2012)
Genre: Prog Rock (Singer/Songwriter/Pop)  /  Italy

Quando Lucio Dalla ci faceva ascoltare dischi veri. Quando Lucio Dalla sciorinava album dove non c’era una sola canzone debole, dove ogni pezzo raccontava una storia e un mondo a sé, dove ogni canzone dava origine a sogni e ad emozioni vere, altroché “ Attenti al lupo” , “ Ciao” e altre miserevoli boiate degli ultimi tristi anni. In questo meraviglioso album sono rappresentate nove storie e ognuna brilla di luce propria, ognuna racconta un mondo che solo la grande fantasia del Lucio Dalla di quegli anni poteva rappresentare così bene. Dal disperato barbone “che maledetto il giorno che era nato” e che, nonostante tutto, rideva sempre e si dava da fare con le signore, a una delle più belle canzoni d’amore mai incise, raccontata con il linguaggio tipico e “sboccato” del Dalla fine anni ’70 (“Stella di mare” ). Da una signora che viene descritta vuoi come una solitaria, madre che lascia per strada i figli senza mangiare e che è “un amico diventato un nemico che mi ruba la voce” (il potere?), a una delle più grandi canzoni dedicate a Milano mai scritte. “Anna e Marco”, quasi un film dove Anna Bellosguardo e Marco Grossescarpe si immaginano stella e lupo di periferia, vorrebbero andarsene entrambi, stanchi di vivere tra locali pieni di checche, ma guardando la luna si innamorano e “qualcuno li ha visti tornare tenendosi per mano” . “Tango”, un altro pezzo dove fa capolino il Lucio Dalla più ermetico, dove anche in mezzo alla guerra c’è gente che ha voglia di ballare, appunto il tango “col coltello fra i denti e un fiore in mano” . Poi c’è “ Cosa sarà” , altro grande pezzo, altra canzone immaginifica dove vengono poste tante domande sull’ esistenza e sui tanti interrogativi che essa racchiude, ad esempio "cosa sarà che fa crescere gli alberi e la felicità”, o che ti fa morire (di tristezza) a “vent’ anni anche se vivi fino a cento” (canzone che vede la partecipazione di Ron e di Francesco De Gregori). Devo dire che faccio abbastanza fatica a comprendere il significato della ballata “Notte” , così non mi avventuro in discorsi che facilmente mi porterebbero fuori strada, e che su “L’anno che verrà” sono state dette tali e tante parole che mi sento semplicemente di dire che userei questo pezzo come colonna sonora da ascoltare almeno tre-quattro volte al giorno. Quando Lucio Dalla era Il Grande Lucio Dalla… che nostalgia! Recensione di "cece65" (www.debaser.it).

RATING:  8 / 10

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quinta-feira, 28 de junho de 2012

*. Omniasphere (Omnia Opera) .*

Album: Surfing The Zuvuya (1990)
Genre: Psychedelic Space Rock (Prog Rock/Electronic)  /  UK

Songs / Tracks Listing
01.Children Of The Moon
02.Angel City
03.World Circus
04.Surfing The Zuvuya
05.Turning Phaze
06.Malgi Riff (Illusions Of The Mind)

Line-up / Musicians
Rob Lloyd / guitar, vocals
Ade Scholefield / keyboards, samples, programming, vocals
Nathalie Jones / vocals, dancing
Lisa Moriarty / vocals, dancing
Neil Spragg / drums

RATING:  8.25 / 10

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*. Here And Now .*

Album: Theatre (1984)
Genre: Prog Rock (Crossover/Pop)  /  UK

Songs / Tracks Listing
01.Theatre
02.Room Within A Room
03.Heartbeat
04.Spaces
05.Salvador
06.Last Chance

Line-up / Musicians
Keith da Missile Bass / bass
Gavin da Blitz / keyboards
Deano Ferrari / guitars
Paul Rose / drums

RATING:  7.5 / 10

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*. Motorpsycho .*

Album: Child of the Future (2009)
Genre: Prog Rock (Eclectic/Psych./Stoner)  /  Norway

Child of the Future is the 13th studio album from Norwegian three man outfit Motorpsycho and was released to celebrate their 20th anniversary. It's raw and unrefined, full of pounding basslines and frenetic drumming. When considered as a standalone rock n' roll album + extras it just about makes the grade with some good songs. But in the context of the rest of the Motorpsycho back catalogue it really doesn't stand out at all. That's not to say it's particularly bad, but if I decide to listen a Motorpyscho album, Child of the Future is always way down my list. Key moments include Whole Lotta Diana, Cornucopia (...Or Satan, Uh... Something) and the anthemic title track. 
Review by "Starhammer" (Prog Archives).

RATING:  7.5 / 10

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*. Robespierre .*

Album: Hard Blood (1980)
Genre: Prog Folk (Prog Rock)  /  Germany

Obscure Band with former members of the "Out Of Focus" & "Saffran".

Songs / Tracks Listing
01.Lieutnant Of The LSU
02.The Abbot
03.Nights Of White Dressed Ladies
04.Harvest Is Over
05.Puppet Player
06.Beggar Boy
07.A Drop From All The Heartbl

Line-up / Musicians
Babs Mang / dulcimer, choir
Franz Mang / vocals
Wolfgang Göhringer / guitars, percussion, choir
Bernhard Seidel / bass
Ulli Seidel / organ, pianos
Hali Binder / drums, percussion

RATING:  8.5 / 10   *GREAT*

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*. Orcus Chylde .*

Album: Orcus Chylde (2012)
Genre: Psychedelic Rock (Heavy/Stoner)  /  Germany

When I first came across Orcus Chylde, it was while poking around on Kadavar’s Facebook page. I noticed Orcus Chylde was tagged so my instincts kicked in to check them out. There were a few songs posted for sample on Facebook and naturally I listened. What I heard I liked. It had that nice retro sound that I really dig. Of course liking what I heard, I let the band know to keep The Soda Shop in mind of a review copy when the album was ready. Fast forward until last week when the CD arrived in the mail. Oh was I giddy. I put it on in my truck to listen to while I drove to work. I wasn’t sure what it was I was hearing but it wasn’t what I was expecting. I wasn’t sure if it was all that it was cracked up to be. It wasn’t.It was better. While I was expecting some heavy retro rock ala Graveyard, what I got was a sort of a hybrid between Graveyard and Witchcraft. The vocals even sound a lot like Marcus Pelander. Upon further listening, the album really unwinds throughout. The overall vibe of the album is that hybrid I mentioned. The faster songs don’t really “shred” and get you really pumped up to the point of destruction but they do move you. It’s something you can certainly sink your teeth into and enjoy. My first full listen wanted me to listen again. Initially it wasn’t because I thought it was so good (it is) but I needed to be sure I really liked it. A 2nd listen took care of that real quick. This is as every good as the hype that will be surrounding it and afterwards. The album itself is just about perfect as an album can get. The energy that comes out of the music is unbelievable. Even at it’s slowest and most mellow moments you’re sucked in. Listen to “Quiet Walls” if you don’t believe me. Besides the retro rock sound and the little bit of fuzz throughout, there’s plenty of acoustic rock throughout as well. This at times gives it a dark folk rock feel without being a full blown folk rock song. It’s really something that is hard to put into words and needs to be heard. The ambiance surrounding the album too is phenomenal. The entire thing has a sense of distinct personality from start to finish. The track order is set up so there’s a nice and smooth flow from song to song. Album of the year material? Yeah, I’d say so. Review by "Bill Goodman" (www.thesodashop.us).

RATING:  7.5 / 10

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quarta-feira, 27 de junho de 2012

*. Omnia Opera .*

Album: Beyond The Tenth (1986)(Cassete)
Genre: Psychedelic Space Rock (Prog Rock)  /  UK

Songs / Tracks Listing
01.Each Day (3:18)
02.Oracle Of Knowledge (10:39)
03.Storm World / Dimension Door (17:08)
04.Screen Dream [Space Bastard] (6:24)
05.Living In A Time (14:11)
06.What You See Is What You Are (7:46)
07.Each Day [Reprise] (2:29)
Total Time: 61:55

Line-up / Musicians
Rob Lloyd / guitar, vocals
Ade Scholefield / keyboards, samples, programming, vocals
Andy Jones / bass, vocals
Mike Tongue / drums
Nathalie Jones / vocals, dancing
Lisa Moriarty / vocals, dancing

RATING:  7.75 / 10

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*. Paladin .* (Remaster)

Album: Paladin (1971)(Remaster 2007)
Genre: Prog Rock (Crossover/Psych.)  /  UK

I actually like this record. Maybe its not up to the standard of the later "Charge" but it has plenty of ideas and makes up for it faults by sounding enthusiastic. Always a second division outfit Paladin never got the kind of support reserved for bands like YES. The Organist is a fine musician but the vocalist is second rate poor at times. Bad-times is a worthy first cut and to be honest there are no real howlers on this LP at all. The art work is a little dull, which is a shame. The production is OK even good by the standard of the time. My favorite cut is Dance of the Cobra, which has a fine Drum solo (an acquired taste perhaps). Otherwise this is pretty much what you would expect prog rock that is neither truly dreadful or partially inspiring. Has this record had a cd release yet ? I suspect not and because of that it remains a mid priced rarity sought after by those who own the excellent "charge". It doesnt compare well with Charge but then few records from that period by less well known bands do. If you can find a copy and love "charge" I would recommend this because it aint that bad. Review by "burgersoft777" (Prog Archives).

RATING:  7.75 / 10

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*. Gin Lady .*

Album: Gin Lady (2012)
Genre: Hard Rock (Prog Rock)  /  Sweden

Many a prog fan were bummed when in late 2010 popular Swedish prog act Black Bonzo announced that they were calling it quits after 3 albums. That sad news was quickly brightened however when a few months later a new band was revealed featuring former members of Black Bonzo & The All Janet, who where now calling themselves Gin Lady. Fast forward to 2012 and the bands self-titled debut is ready to be released, which shows a move to more classic & heavy rock styles. Gin Lady is comprised of Joakim Karlsson, Magnus Kärnebro, Anthon Johansson, Fredrik Normark and Klas Holmgren, and it's no surprise that they find themselves on Transubstans Records, which has shown to be a great home for Scandinavian bands who love that retro vibe. You can hear a definite Deep Purple, Uriah Heep, Captain Beyond, Warhorse, Alice Cooper, Iron Butterfly, and Blue Oyster Cult influence going on here, with tasty guitar licks, loads of Hammond organ, and powerful vocals. Tunes such as "Rebirth" and "Get It On" rock hard with swirling Hammond and heavy blues rock guitar riffs, while the catchy "Lend Me a Hand" has a rootsier feel, coming close to the sounds of the Rolling Stones or The Faces. "Deja Vu" is a great heavy rocker with deep grooves, sort of like a strange marriage of Wolfmother and The Black Crowes, and "The Rest" is haunting, moody prog rock, with ominous Hammond and dreamy vocals, a track that sounds like it could have been recorded in 1971 and come off a vintage Uriah Heep or Atomic Rooster album. Next up is a blistering hard rocker called "Bloodsuckin' Babies" featuring stomping Hammond, piano, and guitar riffs plus vocals with plenty of swagger, and this is followed by the equally heavy "Bottom of the Sea", another grinding rocker that has early '70s written all over it. Gin Lady doesn't bother to hide their love for classic Deep Purple on the raging "Confrontation Shakedown", and proggy closer "Hold On" sees some Yes influence creep in on the vocal front to invade the moody arrangements. As much as Black Bonzo will be missed, this debut from Gin Lady is very impressive and signals the arrival of a band who really can put together some splendid '70s inspired hard rock. More of this please!!! 
Review by "Pete Pardo" (www.seaoftranquility.org).

RATING:  8.25 / 10

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*. Producers .*

Album: Made In Basing Street (2012)
Genre: Prog Rock (Crossover/AOR/Pop)  /  UK

Individually and collectively The Producers - Lol Creme (guitar / vocals), Trevor Horn (bass / vocals), Steve Lipson (guitar) and Ash Sloan (drums) - contribution to modern music reads like a 'Who's who?' of pop / rock from the Seventies onwards. The question is, do too many producers spoil the mix? Made In Basing Street is the culmination of a project started back in 2006 born of a desire to take a [last?] roll of the dice in terms of performing. It's a bit like playing fantasy football and bringing all your old heroes 'out of retirement' to pit them against the best of the current crop. As part of 10cc, Creme was a key player in a band overshadowed only by the Beatles in terms of their collective creativity. And while there were subsequent successes with Kevin Godley, both as a director and as Godley & Creme, he's been conspicuous by his absence from the scene since the eighties. In contrast Trevor Horn's been a prolific producer since forming The Buggles in 1978. The ability to make the ordinary, extraordinary is his forte. For example, ABC's magnificent Lexicon Of Love, Frankie Goes To Hollywood's stupendous Welcome To The Pleasure Dome, and Seal's whole career. But like Creme, his wizardry has lost a little of its spark over the last decade or so. Steve Lipson was Horn's protégé at ZTT working as a session guitarist / producer with the like of Frankie, Grace Jones (co-writing Slave To The Rhythm), going on to work with McCartney, Simple Minds, and Annie Lennox, and more recently pop artists like Will Young and Ronan Keating. Ash Soan on the other hand, is pretty much everyone's session drummer of choice having played on eleven #1 albums and seven #1 singles as well as playing with Del Amitri, Belinda Carlisle, Squeeze, Rick Wakeman and a host of others. And if that wasn't a heady enough brew, on the substitute's bench is writer and producer, Chris Braide who's been a bit player in the project from the outset. His credentials - writing and producing for the likes of Lana Del Ray, Paloma Faith and just about every Top 10 pop star of recent years. Now, that's one hell of a team. And, probably against all odds, it works. Ego's, if there were any, have been buried in the name of 'team spirit'. Freeway, a song that immediately brings to mind Sheet Music era 10cc, The Buggles, and The Beach Boys, is a marvellous shimmering and driving opener, and one that sets a standard for a diverse and above all, 'classy' set that oozes quality throughout. It's not pop. It's not blues. It's not rock. Producers sit in that netherworld somewhere in between. And that's a hugely difficult balancing act. Probably the 'nicest' album you'll hear all year with some wonderful melodies, harmonies and playing. And certainly the best produced. If I had to draw a parallel it would be with Mike and The Mechanics. Not in sound, but in spirit. Old Wild Men. In the words of Carole Bayer Sager, 'nobody does it better'. In football parlance, fantasy or otherwise, it's a consummate performance. As Gavin's Stacey might say, 'lush'. Review by "Pete Whalley" (www.getreadytorock.com).

RATING:  7 / 10

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*. Noetics .*

Album: Delayed Back (2009)
Genre: Prog Rock (Psychedelic/Jazz/Exp.)  /  Germany

Noetics have released their third album an instrumental called Delayed Back which has allowed them to focus on their highly proficient musicianship. This is an album of diversity with tones of familiarity running through it. On initial listening Ozric Tentacles immediately sprang to mind, and is probably the best reference point, as Noetics mix up psychedelic, new age, jazz, dub, rock, electro, drum & bass and trance into very proficient and excellent soundscapes. Peninsolar contains some very interesting didgeridoo playing which is complimented by some exquisite synth passages, echo guitar work and precise drumming, giving the whole affair a world music feel with rock over tones. The rock guitar tones don’t stray to far for Vibrant Hydrant which is a more rock orientated track driven by the bass line supplied by Borchard, which is both powerful and commanding. Rumpankong has a dub, reggae feel with percussion galore, repeating guitar phrasing and beautiful melody. Rotterdub moves in the same arena as Rumpankong with a few more experimental approached tones, being more bass driven. Der Heikle Mann moves back to a rock approach with Wurster defining the pace of the track, Majewski’s guitar interjections are perfectly placed including some really nice rhythm work which cleverly layers a jazz tone into the passage. Dschungelgelot leads off with Borchard’s rhythmic bass line and Majewski adding more of those jazz tones and Schmidt supplying copious amounts of percussions. This is a very subtle but strong track which builds throughout its journey being a particular favourite of mine. Nukular has an electro approach with the synth and drum passages intertwining reminiscent of Tangerine Dream. Schinkenwurst Dub has the dub / reggae groove played throughout which just ambles along at its own laid back pace with no real sense of urgency. Grant Lump And The Elevator is a real bag of mixed mashing being a good example of how all the styles work together as a team. I love the pulsating drum and bass work here which gives it character. Santa Grinse soundscapes are rhythmic in approach with a stunning drum lead and subtle percussion work. Majewski and Borchard again add real depth and character to this track with Majewski weaving his phrasing around Borchard’s bass line and Wurster’ drum patterns are written all over it. Mahdrescher closes the album, climaxing from the foundations of what has been created before. It is experimental in approach with strong tones of dub, reggae and psychedelic trance thrown in for good measure. To use an analogy listening to this album is like baking a cake. The main ingredient having been added and mixed, the baker then adds that something special that gives it substance, flavour and texture. You know what cake it is, but with every bite you experience something slightly different with no two bites being the same. The hardest thing to do with this album is to define singularly. This is a layered and cleverly produced album which has had a lot of thought put into it. You will hear many differing styles thrown in for good measure in one passage alone, which you wouldn’t expect to work, but does! This is a very rewarding album to listen to. Review by "John O'Boyle" (www.dprp.net).

RATING:  7.75 / 10

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terça-feira, 26 de junho de 2012

*. Peggy's Leg .* (Remaster)

Album: Grinilla (1973)(Remaster 2001 + 1 Bonus)
Genre: Prog Rock (Folk/Hard Rock)  /  Ireland

Peggy's Leg had always appeared to me as something of a mystery. A musical myth of legend and folklore. I had never seen a picture of any band member let alone the album, an album which to Irish collectors was something of a holy grail regardless of music genre. Those who claimed to actually have a copy of the only album that Peggy's Leg released, Grinilla, were quite impressed with themselves as being part of an exclusive club. Only 500 were pressed and no one knows how many of these actually exist. But a few years back an Italian private pressing emerged, though still limited to 200, which dispersed as soon as they were pressed. And finally getting my hands on a copy was quite bizarre and unexpected, yet very exciting. Even the album artwork is bizarre. It's a black and white drawing of a gorilla dressed in a space suit, he has a huge banana on his back thats fed to him via a tube and the gorilla has this huge evil grin on his face! Cool. A mixture of classical, jazz, rock, light jazz-rock, prog wrapped up in a psychedelic sensibility this album is indeed a very strange and unique experience, and rather than being pompous or bordering on pretension like perhaps the Nice or ELP, Peggy's Leg have this innocent naiveness about their music, though full of passion as "Think For Yourself" testifies, and the musicianship throughout is very tight, Peggy's Leg are always very competent juxtaposing hard and fast distorted riffing with smooth and delicate acoustic passages and intricate time signatures, and it can take a few turns to get to grips with the six selections on offer. How Irish audiences, who were rather conservative at best in the early 70's, took to Peggy's Leg is a mystery, and it took many acts to find success away from home before being accepted at home. For example, Thin Lizzy were nothing in Ireland until they went to London and built their reputation up there, and when they came back home they were treated like superstars, typical Irish trait unfortunately. But it would seem that Peggy's Leg were never given that opportunity and for 1973 were maybe too eclectic or "weird" to be accepted but they were truly ahead of their time and peerless, at least on the Irish scene, which is perhaps one of the reasons they disappeared without trace, but fortunately enough they recorded this stunning piece of work that is hard to find but discovery will be very rewarding. To hear the subtle change from one style to the next, as on "Into The Nightmare", is a worthwhile experience. And just as you settle into that mood a flurry of electric harmony guitar riffing from Jimmy Gibson and Jimmy Slevin kicks in accompanied by some machine gun drumming from Don Harris before gently easing in to where we started with a smooth lyric that's pure psychedelia. This is par for the course here, and every tune is wonderfully constructed and thoughtout. The lyric content is very dreamlike with allusions of mythical places and stoned out visions, references to Hitler, plagues and disease. Obviously they had a short time to record this album, the vocals certainly do show limitations, and though it is excellently frenetic in places musically, it would definitely have benefited from a more forgiving mix, and the vocals with some extra manipulation could have been more that edge it lacks if the drama the lyrics demand and in turn they do sound rather slight and even unfinished. And if anyone is familiar with the classical piece "Sabre Dance" written by Khatschaturian, there is a version here that is mind-blowing fast with a heavy chocked riff doubled with the bass of Vincent Duffy and ends the album on a high. Rumour is that this may have been released recently on CD though only available over the internet from Jimmy Slevin's own website and if available I recommend prog rock fans to get their hands on a copy. Grinilla is an extremely rare Irish prog album that could be the soundtrack to many an Irish myth or legend with a timeless quality and a very enjoyable collection of songs and stories from a forgotten era of Irish progressive music, as rare as it already is . Review by "jonnydeluxe" (Rate Your Music).

RATING:  7.75 / 10

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*. Lucio Dalla .*

Album: Il giorno aveva cinque teste (1973)
Genre: Prog Rock (Folk/Pop/Rock)  /  Italy

Le ferite che non si rimarginano e le speranze che non si estinguono -su tutto, un perenne, vivido, stupore umano- nelle raggianti poesie di Roversi sposate a un agile melodismo informale e all'interpretazione maiuscola di Dalla. Allegorie e immagini sempre agghiaccianti nel loro franco realismo, commoventi per la dignità e il coraggio che esprimono, perdutamente romantiche nel lirismo di cui sono capaci ('il coyote e la stella', 'La canzone di Orlando', 'Passato, presente'). Un'opera che non può non segnare chi l'ascolta con attenzione. 
Recensione di "Fabio R." (Rate Your Music).

RATING:  7.5 / 10

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*. Северо-Восток (In Folio) .*

Album: Вниз по реке (2006)
Genre: Crossover Prog (Alternative)  /  Russia

Songs / Tracks Listing
01. Иногда
02. Вниз По Реке
03. Друг Мой Ветер
04. Как Пламя...
05. У Дальних Окраин
06. За Зелёными Холмами
07. В Глубине Материка
08. Ты Меня Оставил, Джеми...
09. Доверься Воде
10. After The Battle (бонустрек от In Folio)
11. I Know (инстр.) (бонустрек от In Folio)

Line-up / Musicians
Sergey Sedikh / guitar
Igor Shatov / drums
Piotr Chernichenko / bass
Vladimir Tsvetkov / guitar
Radmila Markidonova / vocals

RATING:  7 / 10

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*. Panic Room .*

Album: Skin (2012)
Genre: Crossover Prog (Prog Rock)  /  UK

The album starts with a bang with "Song for Tomorrow". The moody intro, crunching hard rock guitars, and soaring vocals pack many of the best elements of Panic Room's music into one six minute song. The unexpectedly dirty and distorted guitar sounds come as a surprise compared with the cleaner tones adopted in the past, and there's a great moment where the rest of the band drop out leaving Anne-Marie's vocal accompanied by Gavin Griffiths tribal-sounding drumming. After that dramatic opening, "Chameleon" changes track completely, a laid-back shimmering jazz-flavoured number lead by Jon Edward's piano. "Screens" is quite different again. Opening with the string quartet that features heavily throughout the album, it then turns into a dynamic funk-rocker built around a killer synth riff. Possibly showing the influence of new bassist Yatim Halimi, this song seems certain to become a live favourite. "Chances" is a semi-acoustic rocker, with heartfelt lyrics and the sort of vocal melody that rapidly gets lodged in the brain; Paul Davies plays some great shredding flamenco-style guitar on this one. The slow-burning "Tightrope Walker" takes on a brooding eastern flavour ending with some great electric piano. A string quartet add colour to both these numbers, but for "Promises" they become a lead instrument. Those strings at the start give the feel of early ELO, but the song soon turns into something harder-edged and altogether more intense. Then the album takes a breather with a couple of quieter numbers. First the stripped back intimacy of "Velvet and Stars", with Helder's vocals accompanied just by guitar, then delightfully light and airy "Freefalling". Both numbers have something of the feel of parts of her acoustic 2006 solo EP The Contact. The album comes to a very powerful conclusion with the three closing numbers. First the title track, a ballad with emotional soaring vocals and some wonderful piano arpeggios, and possibly the high spot of the entire album. Then the hard rock of "Hiding the world", heaviest number on the album, shades of Led Zeppelin fronted by Kate Bush, with the strings adding a "Kashmir" vibe at the end. Finally the epic album closer "Nocturnal", ending the album in a similar fashion to the title track of "Satellite". This is an extremely varied record, taking a big wall of sound approach in places and a pared-back simplicity in others. Yet for all the variety, the whole thing hangs together as a coherent album, and despite a running time of over an hour, there's no real filler. True, some songs are far more immediate than others, but on repeated listens every song reveals its own strengths. It's less a radical change in direction as a logical progression from what the band have done before. True, the production is more ambitious, and there's something of the multi-layered approach of their début, especially with the extensive use of the string quartet. As with Satellite, it's all very song-focussed. The band are virtuoso musicians, but there's never any unnecessary instrumental showboating; the solos kept short and sweet according to the needs of the song. If anything it's Helder's remarkable voice that's the most significant lead instrument, hitting the sweet spot between precision and emotion that makes the difference between a good vocalist and a great one. For years, Panic Room have been one of the British rock scene's best-kept secrets. With "Skin", their strongest and most assured album to date, they've delivered a record that deserves to be heard by a far wider audience. 
Review by "Tim Hall" (http://trebuchet-magazine.com).

RATING:  8 / 10

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*. Silhouette .*

Album: Across The Rubicon (2012)
Genre: Symphonic Prog (Neo Prog)  /  Netherlands

Songs / Tracks Listing
01.Across The Rubicon (2:19)
02.Breathe (11:32)
03.Empty Place (4:05)
04.When Snow's Falling Down (7:09)
05.Anybody (11:22)
06.Grendel Memories (5:42)
07.Nothing (4:22)
08.Don't Stop This Movie (11:55)

Line-up / Musicians
Brian de Graeve / guitars, vocals
Erik Laan / keyboards, vocals
Jos Uffing / drums, vocals
Gerrit-Jan Bloemink / bass guitar

RATING:  8.5 / 10

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*. Connivence .*

Album: Connivence (1977)
Genre: Prog Folk (Symphonic/Jazz)  /  Canada

First record of a group that is more of an amalgam of artistes linking under the Connivence name in order to make an album, this relative uncommon procedure delivered three albums that are worthy of the proghead's interest, especially so if he is into Folk Prog. Basically a blend of folk-duo Nous Autres and jazz rock group Oasis, it also includes some solo English-speaking songwriters (but French-singing) who are playing with those two groups. Sounds confusing? Well, Kinda! But these guys were all acquaintances from the Ottawa river valley, just across the federal capital of Ottawa. After reading the first paragraph, you'd have to believe that this album would be very eclectic, uneven and with a wide spectrum, but actually, the album is fairly focused and most of the tracks are folk, folk rock or folk-derived prog. So eclectic this album is but for its own good: they folk-jazz-rock is sometimes head-twirling, at times virtuosic and all the time very charming. The opening progressive instrumental jig (aptly called Gigue) is calling your ears to attention right away, with the hippy-folk idealist Dans Ta Fenêtre being a stark contrast in sobriety. With Boyau De La Liberté reminding you of the opener (minus the open jig) and its violin reminiscent of Kansas' Robby Steinhard, the album is made to please even the most demanding proghead. Even if Grande Valse is fairly cheesy, Sable De Lucerne is modern classic-influenced and the tracks sounds like a RIO marriage between Univers Zero and early Maneige. And with the superb Villageoise track closing off the first side of this Ottawa voyage, you realize that once again, Quebec still has many hidden gems still waiting for Cd releases. But with the second side to go, opening strangely with Happy Endings (an instrumental symphonic-jazzy jig) which is like a cross between Maneige and Aquarelle, again the second track is leading us in a very sober folk couple of tracks written by folk duo Nous Autres, one of which can be likened to Anthony Phillips' works on his "private parts and pieces" series. The album closes on a head-twisting pastoral symphonic Lapin, which fittingly ends this great album. While not a real masterpiece of Quebecois music, the first Connivence album is very worthy of any proghead's interest and it is a shame their albums (no Cd re-issues and vinyls getting scarce) are getting hard to find, because even most Quebecois seem to have forgotten about this amalgam of artistes, which will release two more album under the same formula, but with different participants. Review by "Sean Trane" (Prog Archives).

RATING:  8.25 / 10

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segunda-feira, 25 de junho de 2012

*. Omnia Opera .*

Album: Celebrate for Change (1987)(Cassette)
Genre: Psychedelic Space Rock (Prog Rock)  /  UK

Songs / Tracks Listing
01.The Liquid Underground (7:33)
02.The Awakening (16:11)
03.Summer Of 85 (4:58)
04.Orbit (2:35)
05.Earth Tribe (4:17)
06.Omnia Opera (8:52)
07.As It Is [excerpt] (11:58)
08.Afraid Of The Unknown [Part One] (5:41)
09.Afraid Of The Unknown [Part Two] (0:19)

Line-up / Musicians
Rob Lloyd / guitar, vocals
Ade Scholefield / keyboards, samples, programming, vocals
Andy Jones / bass, vocals
Mike Tongue / drums
Nathalie Jones / vocals, dancing
Lisa Moriarty / vocals, dancing

RATING:  7.75 / 10

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domingo, 24 de junho de 2012

*. Bead Game .* (Remaster)

Album: Baptism (1970)(Remaster 1996)
Genre: Prog Rock (Crossover/Folk/Pop)  /  USA

Here's an odd and rather dated-sounding collection of pop-psych from the late sixties/early seventies. While the studio date is 1970, these are actually early recordings from Bead Game that were rumored to be the foundation of their second studio record, but wasn't released until 1996 which was nearly fifteen years after the group had disbanded. Like so much music that was released in those days, there's a charming lack of continuity and direction with this collection of tracks. The influences are all over the place, from the slightly bluesy "Sweet Love" to a James Taylor-like title track (John Sheldon was a childhood friend of Taylor's), to several Jesus-freak leaning songs including "What a Day", "This is True" and the oddly titled "Nude Bathin'". There's a little bit of everything here, although not much that could be considered progressive and almost nothing that sounds like the band's other 1970 studio release 'Welcome'. Some have referred to this as a 'religious' album, but tracks like the tongue-in-cheek "She's on the Rollin' Pin" (think about it) and the West Coast breezy "20 Dollars Bill" suggest the band was simply trying out different sounds to see what would click. In the end nothing really stands out, but there aren't really any duds here either. There is more emphasis on vocals, guitar and piano on this album, while 'Welcome' features more eclectic keyboarding and longer instrumental passages. Most of the lyrics are rather trite or even meaningless, particularly those on "Rollerskatin' Baby", "Steamballin'" and the cliché-laden "Sweet Love", but the musicians are all quite good and the production is pretty tight given the youth of the band's membership and the time period. At times they remind me alternately of early Grateful Dead, James Taylor, a happier Warren Zevon and just a touch of Jackson Browne. Nothing to get too excited about, but a decent record nonetheless. This may be a bit generous but I'm going to say this is a three (out of five) star affair, worth picking up if you run across it but certainly not something that should be heavily sought after. Review by "ClemofNazareth" (Prog Archives).

RATING:  7.25 / 10

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*. Echolyn .* (Re-Post)

Album: Echolyn (2012)(320Kbps)
Genre: Prog Rock (Symphonic Prog)  /  USA

Perhaps it should be a crime to make music this great; it overtakes one's life! I find that I stay up just a little too late to hear one more song again. Then another. I sit in my car in the parking lot before work to listen to the end of a disc. Then hit repeat. I sneak the album into my office and find myself listening to it instead of attending to my spreadsheets... This latest self-titled echolyn cd is wonderful. I said it seven years ago when I reviewed their previous cd, and I'll say it again here - this band sits at or near the very top of the progressive rock world. Each song seems so purposeful and thoughtful, both in the choice of instruments and the lyrics. They are "compositions" in the true sense of the word with a message that's delivered lyrically and musically, with inventiveness, virtuosity and great melodies. Hey, they recorded this over the span of 5 years! (It was time for this one to come out of the oven.) Two discs this time, though both are short enough to have fit neatly onto one. I'll need to examine them individually more to see why they are separate - themes? tone? they just felt like it?... The music is sometimes complex and dense in the usual echolyn style, but I also felt that many of these songs were just a little more relaxed or organic sounding? No mellotron is listed in the liner notes, but I hear something close from keyboardist Chris Buzby in a few spots. (Perhaps the string ensemble?) I've always loved Brett Kull's vocals; and Ray Weston's have not only grown on me over the years, but I do believe they've aged nicely, like a seasoned merlot! ;-) Both vocalists shine on this, and the harmonies are fantastic (of course). Unheralded drummer Paul Ramsey is superb again. Tom Wyatt's tasteful and melodic bass duties are shared with Ray, and he contributes with guitar, backing vocals and some lyric writing. Echolyn albums that I was reminded of at times here were the poignancy of the EP "...And Every Blossom", the sweeping multi-textured quality of "mei" and the sometimes more modern-sounding "The End Is Beautiful". A string ensemble, hammered guitar strings, voices and other nuances make for a very unique experience that (as usual with echolyn) rewards repeated listening. Review by "Squire Jaco" (Prog Archives).

RATING:  9 / 10   *MARVELLOUS*

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*. Roberto Ferri .*

Album: Se per caso un giorno la follia... (1977)
Genre: Prog Rock (Symphonic/Pop/Rock)  /  Italy

A singer-songwriter from Bologna, starting his career with a single in 1967, Roberto Ferri released his first interesting LP in 1977, with lyrics on social outcasts, madness, vivisection, and rock arrangements. Among the session musicians played on the record were Jimmy Villotti and Fio Zanotti. Ferri is still active and releasing records. A live version of Se per caso un giorno la follia, recorded in 2007, has been released on CD in the same year. (www.italianprog.com).

Songs / Tracks Listing
01.Alla piazza deserta
02.Io povero pazzo
03.Ritagli di giornale
04.Col vestito da indiano
05.Il pavone
06.Requiem per Boby
07.Giovannino seme di mela
08.Anno zero
09.Tu e lui
10.La goccia

RATING:  7.75 / 10

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*. Status Minor .* (Japan Edition)

Album: Dialog (2009)(Japan Edition + 1 Bonus)
Genre: Prog Metal  /  Finland

Dialog is the debut full-length studio album by Finnish progressive/ power metal act Status Minor. The album was released in September 2009 by Lion Music. Status Minor was formed in 2003 and released a demo in 2006 and one in 2007 before signing to Lion Music. Status Minor play a progressive kind of power metal on Dialog with clear references to a band like Symphony X but also Dream Theater comes to mind a couple of times.The music is rather diverse and both employ "pop" metal elements as well as some really heavy elements too. The closing 15:44 minute long title-track is the most progressive offering on the album but there are progressive elements like tempo- and time signature changes, unison guitar and keyboard soloing and a generally challenging approach to writing music in most songs on the album. The production is polished, clean and professional. Dialog is not the kind of album that knocks my socks off but it´s a very well written, well played and well produced progressive/ power metal album that is sure to please fans of the genre. Don´t expect anything too original though. Review by "Umur" (Prog Archives).

RATING:  7.5 / 10

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*. Omnia Opera .*

Album: Nothing Is Ordinary (2011)(2Cd's)
Genre: Psychedelic Space Rock (Prog Rock)  /  UK

OMNIA OPERA are providing space rock derived from the heavier division obviously, that said with some Hawkwind leanings, far away from simple copy-cat mentality though. True to the motto - fixed by the album title - this is rich on ideas. The result is an entertaining double album, two hours full of sparkling details, twist and turns, spiked with highly melodic, extravagant and also jamming parts. Worth nothing without a straight rhythm branch as the backbone, consisting of founding member Andy Jones (bass) and drummer Neil Spragg. The more you get into the album you'll also realize that Captain Bagley has a large share with his synthesizer duties. First CD starts with the hypnotic cosmic/kraut trip Destroyer Of Worlds - a bit gloomily outfitted - the next one though comes more lively due to the varied makeup, including vocal and encouraging guitar presence. Third one in the row Genus Of Angels is trippy hallucinogenic on the other hand. Well, up until now everybody must have noticed that this is really multi-faceted. And then the following tracks 4 and 5 represent the album's core, I would say - the creative peak. The title song opens with a motif which comes close to the well-known 'Careful With That Axe, Eugene', soon turns into another direction then with an impressing groove and melancholic mellotron alike impressions. Another turn leads into a female vocal dominated part - it must be Libby Vale who sings 'Nothing Is Ordinary' - damn right! And then the band goes jamming with that order in the back, the bass temporarily seems to run out of control ... wow, what a great workout! The speedy Supernova follows, provided with a strong new electronica attitude first and impressive guitars played with glissando effect, sounds like a cooperation between Hawkwind and Gong in some way as for composition and implementation. And it's absolutely necessary to mention the dynamic Pictures On The News - first of all because Rob Lloyd serves a fantastic guitar solo here. CD 2 appears to me a tad more flamboyant and even experimental, strange samples are worked into, vocals are otherwordly here and there, whacked-out trips like Clouds Gather will leave you puzzled, partially they are rrrrrocking like hell and then again they use the relaxed way with the Pink Floyd inspired Leanings Backwards ... Nothing is ordinary - OMNIA OPERA come out of hibernation with bravour - the first new album release since 1997, and what a precious one! Space cadets all over should pay attention here, highly recommended! So much spirit cumulated in recent years, a great experience - deserves a place on my best-of list for the year 2011. Review by "Rivertree" (Prog Archives).

RATING:  9 / 10   ***FANTASTIC***

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sábado, 23 de junho de 2012

*. Connivence .*

Album: Connivence II (1979)
Genre: Prog Folk (Symphonic/Jazz)  /  Canada

If Connivence's first album was a rather confusing compilation of tracks from different artistes into a collective, the second album released the next year is much more of real album from a real artiste. Behind the astounding and superb watermill artwork of the cover, we're still dealing with pastoral folk, even if the folk gets naval as well with a couple of tracks. Neither Soucy or Oasis cared to participate to this effort, leaving Steve Burman and the duo Nous Autres and newcomer Guy LaFrance to fill the album, which gains in cohesiveness compared to its predecessor. Nous Autres contributes to pure or trad folk songs like Quebec Au Printemps (a cheesy ode to Quebec that was obviously aimed at airplay) and Le Bateau or Une Goutte De Sang. But most of the tracks are hovering between folk rock and folk jazz, induced by Syncope's presence in backing Burman and LaFrance (see 1959 and Dac). Sometimes you'll hear chunks of early Harmonium influences, but then again the head-twisting Saskatoon is close to a jig in its last developments. In the typical Quebec fashion, delicious female vocals are present, here France Charron on four tracks) including the delicious Le Mat, set to cello and strings, and the superb flute-laden Chanson D'Amour pour France is a Burman & Syncope tune with some jazz arrangements, but Dac and Cocottes De Kazou are much in the same mould. Nous Autres is back with the superb S'Il Y A De L'Amour that can only send shivers down your back. And wait until you get to the closing stunner Accouche Qu'On Baptise to get the same shivers. Since these albums have never received a Cd reissue (legit or boot), there is only one hope for most of progheads to one day hear Connivence's first two collaborations, and that hope's name is ProgQuebec, but Connivence's vinyls are still quite cheap , the only trick is to ship them through the expensive Canada Post, but no doubt you'll not regret doing so. Certainly worth a listen (and a few more), Connivence is the perfect music to get in close to your mate and start making some connivance. Review by "Sean Trane" (Prog Archives).

RATING:  8.5 / 10   *MARVELLOUS*

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*. Enzo Maolucci .*

Album: L'Industria Dell'Obbligo (1976)
Genre: Prog Rock (Folk/Pop/Rock)  /  Italy

L'industria dell'obbligo non è solo la scuola media in cui da troppi anni milita anche la mia scandalosa immagine culturale (il romantico stipendio che mi concede lo stato è molto più letterario delle mie lezioni) ma è soprattutto Torino con la sua produzione di mostri infelici che trovi ormai in ogni ambiente urbano e che cominciano a strillare finalmente anche in questa storica palestra di tensioni. La vocazione a "sentirsi obbligati" fino ad ora ha condizionato la mia città, i suoi abitanti ed i suoi artisti al silenzio, alla compostezza, al grigiore piacevolmente provinciale che i nostri leggiadri e illuminati signori di cremeria finora avevano buon gioco a diffondere per imbellettare la Fiat, l'integrazione e la violenza ambientale. Ma l'assenteismo dei "bugia nen" sta per essere ormai stuprato e sorge prepotente la voglia di "fare insieme" per vincere la solitudine e l'isolamento. Voglio dare in questo lavoro una testimonianza di me e di Torino. Dieci anni passati a scordare chitarre elettriche sbraitando "Beat and Roll", a subire la follia dei perdenti, a conoscere i nuovi santi tra una birra e un nervoso cappuccino nei bar del '68. E altri sette anni passati a riaccordare chitarre elettriche e infilare esperienze e storie vere nel filo di una crescente coscienza politica, che può fare a meno di un'assemblea al giorno. Lo spettro di una pensione statale davanti alla demoralizzante figura sordido-ìetteraria di un cantautore trentenne, alle spalle, un Rock genetico che mi prude nel sangue, minaccia di sguinzagliare ad ogni istante tutta la mia fottuta istrioneria. Tutto questo è stato consumato con la complicità di amici assetati di gioia e delirio, anche da quelli che nel dubbio tra il votarsi seriamente alla lotta di classe o vivere differentemente la loro rivoluzione, finora hanno scelto soltanto un viaggio in Marocco all'anno e qualche cena surgelata in casa di compagni sposati da poco e già in crisi."Enzo Maolucci" . (http://maolucci.altervista.org)

RATING:  7.5 / 10

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*. Dorians .*

Album: Fly (2011)
Genre: Crossover Prog (Alternative/Rock)  /  Armenia

The Dorians was founded in June, 2008 by Vahagn Gevorgyan who is the current producer of the band. In February, 2009 the band performed at the first qualifying round of Eurovision Song Contest in Armenia, after which it gained its popularity. In April, 2009 the band won the "Best Newcomer" award at Tashir Music Awards in Moscow. In June, 2009 the band had its major concert and celebrated its first anniversary in Yerevan. The meeting with the legendary musicians Ian Gillan (Deep Purple) and Tony Iommi (Black Sabbath) within the frames of the project "Rock Aid Armenia" inspired and motivated the band to organize a charity concert for the reconstruction of a music school in Gyumri, Armenia. In November, 2010 the band performed four solo concerts in Moscow. In 2011, the Dorians won the "Best Rock Band", the "Best Video" and the "Best Vocal" awards in the "National Music Awards" ceremony in Armenia. In April, 2011 the band recorded its first album, which was mixed in Brussels at the "ICP" Studios, and the mastering was done at the "Translab" mastering studio in Paris. In August, 2011 the Dorians was invited to perform at the opening act of Serj Tankian's (System Of A Down) concert in Yerevan. On December 13, 2011 the rock band won the "Rock", the "Best Vocal" awards in the "VAN Music Awards 2011". (www.dorians.am)

RATING:  8.25 / 10   *Excellent All Around*

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*. Margaret Becker, Kristyn Getty & Joanne Hogg .*

Album: New Irish Hymns #4 (2005)
Genre: Celtic Folk (Christmas Music/Prog Folk)  /  Multi Nacional

"In Christ Alone" co-writer Keith Getty is behind this collection of 12 worshipful songs which has, as the "Irish" in the title hints, quite a few folk elements and influences strewn throughout. And these can be heard in songs that, in some cases, would not be out of place on albums that have made big impacts in the charts over the past 10 years. "Across The Lands" plays on some strong themes reminiscent of Celtic band Clannad, while "Your Glory Be Ever Known" and "Every Promise" are tracks that would not sound out of place on an album by pop-folksters The Corrs. This all results in an interesting collection of contemporary music that will prove useful to churches and also be enjoyable at home. Review by "Andrew Segal" (www.crossrhythms.co.uk).

RATING:  7 / 10

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sexta-feira, 22 de junho de 2012

*. Vostan Hayots .*

Album: Qimerner (2000)
Genre: Prog Rock (Prog Metal/Neo Prog)  /  Armenia

Songs / Tracks Listing
01.Химеры (Qimerner)
02.Черное и Красное (Sev Ev Karmir)
03.Дорога (Chanaparh)
04.Палач (Dahich)
05.Пойдите гляньте (Gatseq Teseq)
06.Молитва любви (Siro Aghotq)
07.Одержимый музыкант (Khent Erazhisht)
08.Кранты (Qashvanq)

Line-up / Musicians
Hovhannes Kurginyan (Ованес Кургинян) / vocals
David Musheghyan (Давид Мушегян) / guitar
Areg Nazarian (Арег Назарян) / bass
IKE F. Gyolchanyan (Айк Гёлчанян) / keyboards
Levon Stepanyan (Левон Ахвердян) / drums

RATING:  8.25 / 10   *GREAT*

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