*. I and Thou .*

Album: Speak (2012)
Genre: Symphonic Prog (Neo Prog)  /  UK

I and Thou is a new band project put together by Renaissance keyboardist Jason Hart. If you've seen Renaissance on their recent tours you've seen Jason perform all the symphonic/orchestral parts that really filled out the sound in a way that the old lineup couldn't without the aid of an orchestra. Not only does Jason play all the keyboards but he also is the lead vocalist and contributes on sundry instruments. His overall sound is extremely reminiscent of Tony Banks. Jason brought in a bunch of ringers from Izz - John Galgano plays bass, Paul Bremner is one of the guitarists, and Laura Meade contributes on backing vocals. Most of the guitar work is handled by Jack Petruzzelli. Oh yeah Steve Hogarth actually makes a guest appearance providing vocals on the last piece "Go Or Go Ahead" - a cover of a Rufus Wainwright tune. The music has a laid back and refined quality but there are still plenty of undercurrents of complexity that are most evident during the instrumental passages. Consisting of 4 epic length pieces plus the one cover the listener will be reminded of Wind And Wuthering period Genesis, Renaissance, Echolyn, and Izz. Quite a beautiful album, rounded out with beautiful cover art courtesy of Annie Haslam. (www.lasercd.com)

RATING:  9 / 10   **MARVELLOUS**

.

*. Consider The Source .*

Album: Live at Pianos (2008)(Ep 4 Track's)
Genre: Prog Rock (Eclectic/Exp./Jazz)  /  USA

US outfit CONSIDER THE SOURCE were formed in 2004 by Gabriel Marin (fretless guitar, fretless chaturangui), John Ferrara (bass) and Justin Ahiyon (drums, percussion, samples). The threesome at once started writing material covering their wide range of influences, and a demo EP subsequently saw the light of day in 2005. Developing their style further through numerous live shows and continued writing sessions, CTS started evolving and perfecting their craft for the next couple of years, with their peculiar blend of middle eastern scales, psychedelic jams, Indian inspired micro-tonal scale structures, fusion and surging heavy rock reaching new heights on their 2007 effort Esperanto, with a stylistic expression described as instrumental sci-fi progressive rock by some. Extensive touring and numerous festival appearances later, Consider The Source hit the studio again in 2009, and with an aim to expand their already daunting sonic palette they created their critically acclaimed third effort Are You Watching Closely?, issued later the same year. Live concerts and various festival appearances dominate the band's future schedule, alongside recording their third full length studio effort and assembling and issuing a full length live CD. In between all of this the band take some pride in the acclaim they have gathered so far, an interview with guitarist Marin in Guitar Player Magazine one proud moment of recognition, another is being described as the future of music by Jazz Times' Howard Mendel. (Prog Archives).

RATING:  7.5 / 10

.    .

*. Straight Shooter .* (Reissue)

Album: My Time - Your Time (1980)(Reissue 1988 + 1 Bonus)
Genre: Hard Rock (Prog Rock)  /  Germany

Songs / Tracks Listing
01.My Time - Your Time
02.Happy New Year
03.Why
04.Love In My Mind
05.All Along The Watchtower
06.Disco Fever Everywhere
07.Now You're Shattered
08.Be With Me
09.Straight Fighting Man (Bonus)

Line-up / Musicians
Georg Buschmann / vocals
Günther Striepling / guitar
Hans Plankert / keyboards, piano
Roland Haase / bass
Friedhelm Misiejuk / drums

RATING:  7.75 / 10

.    .

*. Daryl Stuermer .*

Album: Waiting in the Wings (2001)
Genre: Jazz Rock Fusion (Smooth Jazz)  /  USA

Waiting In The Wings is, without question, one of Stuermer's brightest moments as a jazz solo artist.  His first two solo albums (Steppin' Out and Live & Learn), which both have strong moments, pale in comparison to the cohesion on this project. Not only does Stuermer have a solid band in place with the likes of bassist Eric Hervey, drummer John Calarco, and pianist Kostia, but he delivers a release that succeeds in providing a fantastic 'live in the studio' feel. The album also features special guest Luis Conte, a noted jazz percussionist from Phil Collins solo touring band. Among the stand-outs on the album are the title track, "Wherever You Are", "Deja Blue", "Copenhagen" and "Transatlantic." Once again, Stuermer shows his masterful chops as one of jazz's premier guitarists with a solid set of ten well-honed tracks of rock fusion influenced smooth jazz. Musicianship aside, Waiting In The Wings probably stands out most among Stuermer's catalog, because it strays, ever so slightly, from the smooth jazz grooves that became incredibly popular in the late '80s and throughout the '90s in exchange for elements of '70s era jazz, with that great fusion-esque sound that almost reminds me at times of some of his guitar playing with Jean Luc-Ponty or George Duke. It is a style I hope Stuermer continues to reminisce further in the future. (www.worldofgenesis.com)

RATING:  7.5 / 10

.    .

*. Sula Bassana .*

Album: Dark Days (2012)
Genre: Psychedelic Space Rock (Prog Rock/Exp.)  /  Germany

Sula (Dave) from Electric Moon, Liquid Visions, Zone Six, to name a few, is back with his follow up to the excellent “The Night” record two years ago. This record was recorded the same way as the last and also mastered by EROC. It features 6 songs in around 71mins and is released on CD and also double vinyl (marble or black). Underground is a damn cool psychedelic rock track featuring the vocals of David Henriksson, otherwise the entire record is instrumental. This is a quite catchy track but the guitar is really psychedelic and the extended guitar improvisation is just awesome and reminds me a bit of older Bevis Frond, both catchy and psychedelic. Departure is next and starts off with some synth sounds and then the guitars come in slowly with a repetitive riff that reminds me of early Hawkwind, with both the spacey yet very melodic texture and feel. A lot of spacey synthesizers on this one as well. Spaced out… Surrealistic Journey is just over 20 minutes long and begins slowly and features Pablo on the drums. IT begins with some really spaced out organ playing and guitar that builds up slowly, a bit like Electric Orange. The organ playing is super cool and I have never heard Sula play stuff like this. After about 6 mins or so, the guitar kicks in with a very cool solo on the right channel. It is a long journey but an amazing track where you will hear some 1969 Pink Floyd vibe, and lots of cool guitar as Pablo maintains the drum drive. Now for the title track, Dark Days. This is something completely different. It starts off with a really freaked out guitar and bass before a riff starts to develop. This sounds a lot like the jams that Electric Moon play these days until the mellotron like sound kicks in and totally changes the mood. I love the way this track flows from the heavy to mellotron parts. Damn cool. Bright Nights is another 10min space out that starts with delay guitar, organ and a simple drum beat but develops into a heavy Electric Moon style psychedelic trip. Arriving Nowhere is the 16min has a pretty funky space groove guitar that leads the way. Around 4½mins the track changes directions with this pretty cool electronic section with multiple guitar layers and spaced out sounds making it really psychedelic. Sula has made another fantastic record and it has very special artwork as well. It will look great on a gatefold vinyl. Review by "Scott aka. Dr. Space" (http://writingaboutmusic.blogspot.com.br).

RATING:  8.25 / 10

.

*. Portal .*

Album: Element (2005)
Genre: Prog Rock (Crossover/Metal/Alternative)  /  Canada

Portal began in 2000 as an exploratory outlet for founder and creative core, Kenton Thomas. Raised on classical piano, Kenton began developing technique and an appreciation for musical composition right from the young age of four, but it was not until his teen years that he started to explore the diverse world of popular music, eventually drawn in by the thriving west-coast grunge movement propagated by the Smashing Pumpkins, Stone Temple Pilots, and Soundgarden. It was the latter of these that sparked Kenton's initial interest in unorthodox time signatures and complex rhythms, now a signature of Portal's sound, and drove his exploration deeper into progressive and ethereal realms, unearthing the likes of Tool and Nine Inch Nails, and gaining his first in-depth taste of the digital music revolution. Recording gear and time away from university were a natural next step, and a year of recording and developing material eventually yielded Portal's first EP. From the band's first live performance, a second place finish at the University of Alberta's Battle of the Bands in 2001, to their win at the Adopt-A-Band Independent Artist Challenge later that year, to being selected as a finalist in the 2002 National Songwriting Competition, Portal has continued to evolve, grow and mature. Despite various successes and setbacks, Kenton feels each and every step has been building towards this moment. Even Portal's line-up was not solidified until last year when guitarist Rosco Brooks and drummer Bill George were added to the fold, but its current incarnation is the most capable yet. "The last four years have been an unforgettable voyage, but it's really been more of an education than anything else," says bassist and original member Kevin Hoskin. "For Portal, the real journey starts here." Element is, without a doubt, Portal's most mature anthology to date, and one that Kenton and the band consider to be the first true representation of their visions and tastes. The album is a collection of songs from Portal's last release that the band painstakingly picked apart, rebuilt from the ground up, and moulded into a product they can finally call their own. "The purpose of Element was experimentation, through and through," says Kenton. "From vocal approach to percussive instrumentation, mixing techniques and graphic design - nothing was sacred. We used six different snare drums during the recording process. I wanted us to fully explore our individual and collective tastes, as well as our capabilities and limitations, and come out the other side with a much better idea of where we've been, where we're going, and who we are. If nothing else, we achieved that goal beautifully, and we will be more successful in the years to come because of it." In an age when decisions are all-too-often governed by beaurocratic executives, disconnected pop producers, and the proverbial "bottom line", the artistic integrity that Portal has displayed through their work on Element is an inspiring demonstration of a focussed dedication to one's craft, and a meticulous attention to detail. Five years of growth and maturation, three years of creative development, and ten months of hard work have finally come to fruition. This is Portal, in the state of mind and environment they find most comfortable. This is Portal, in their element. (www.cdbaby.com)

RATING:  7.75 / 10

.    .

*. Retrace .*

Album: Love Will Rise / You By My Side (1989)(Ep)
Genre: Prog Rock (AOR/Melodic Rock)  /  Sweden

Songs / Tracks Listing
01.Love Will Rise
02.You By My Side

Line-up / Musicians
Samuel Waermö / Vocals, Guitar
Thomas Olofson / Bass, Backing Vocals
Anders Carlsson / Keyboards, Backing Vocals
Leif Hedberg / Drums

RATING:  7.25 / 10

 .

*. Telestrion .*

Album: Molecule (2012)(Ep 6 Track's)
Genre: Psychedelic Rock (Heavy/Stoner)  /  USA

The ‘Molecule’ EP is comprised of six songs and around 30 minutes of psych-y sci-fi space-rock. But there’s a hint of some southern rock moments mixed-in, some pretty rad guitar solos, and plenty of that gnarly MOOG synthesizer action popular in the 70′s. The lead-off track, “Molecule” reminds me of what RUSH’s “Tom Sawyer” might sound like if it were drugged-up on Sabbath. “Tunnel In the Sky” is a noisy/funky Santana sort of conga break. And “A National Acrobat” is Sabbath covered – damn near right down to a tee (Ozzy-esque vocals and all). “Slightly Sideways” is another interlude of sorts, picking up where the “Tunnel In the Sky” left-off. “Time and Space” is their Floyd-ian rendition of “Us and Them.” And like “A National Acrobat” – is pretty spot on (with a little dash of some more of those Ozzy-like vocals). Heavy Planet said it, in terms of the band blending Sabbath and Floyd. If there is a band that can do it, it might be TELESTRION that gets a first nod. “The Sacred Relics” closes the EP and drags us through a long and slow crawl around some noisy synthedelics, some noisier guitar effects, and more of those wild jungle conga rhythms. A straight blaze fest for those feeling like a wild rain dance in the middle of a tropical meltdown. Does ‘Molecule’ deliver some decent tuneage? Sure. Especially if you’re ripped on some good dope smoke, I’m sure it’s probably a pretty enjoyable listen for thirty minutes. Am I going to do cartwheels over it? Probably not. But we appreciate what these guys are doing, nonetheless. It’s especially rare to find guys who can cover Ozzy THAT darn closely (the only other guy we know of is Jim from FIREBALL MINISTRY), and that’s pretty cool. At any rate, these guys run in some pretty good company, and we’re certain their die-hard fans will appreciate the ‘Molecule’ vinyl gate-fold even more. (http://rockthought.com).

RATING:  8.25 / 10

.

*. Mindscape .*

Album: Mindscape (1995)
Genre: Prog Metal (Prog Rock)  /  Netherlands

Songs / Tracks Listing
01.I Can't
02.From A Distant Eye
03.Million Miles
04.Tripping In Dimension
05.Back From The Light
06.When Daylight Comes
07.Price Too High
08.Jamie's Clearing Up The Sky
09.Million Miles (Edit)

Line-up / Musicians
Robert van Haren / vocals, guitar
Rob van Lingen / guitar
Guus Rieteco / bass
Pat Glass / guitar
Wilfried Broekman  / drums

RATING:  7.5 / 10

.    .

*. Bad Salad .*

Album: Uncivilized (2012)
Genre: Prog Metal (Prog Rock)  /  Brazil

I started listening to these guys when they were covering Dream Theater songs (by the way, look for them, best covers in history). Then they started forming the band and released the first demo. They are virtuosity. They are talent. They are heart. Without publicity, they created a legion of fans around the world and I know they will be known very soon. A refreshing progressive band. Don't miss this band. Review by "Hernan" (www.amazon.com).

RATING:  8.25 / 10   **VERY GOOD**

.

*. Chalice .*

Album: Overflow (1975)
Genre: Prog Rock (Pop/Folk/Rock)  /  Australia

An English group that emigrated to Perth, Western Australia. The band played most of the Perth hotel scene during the seventies mainly featuring English hits. The band recorded five singles. One that hit the charts in 1975 featuring Free's song "Sail On Sailor". They released an album "Overflow" on the Polydor label in 1977. The band reformed for in 1979 with singer Ray Burgess. The band never recorded with the new line-up.(http://musicminder.com).

Songs / Tracks Listing
01.Writing's On The Wall / 02.In My World / 03.Mums And Dads / 04.Beginning To Feel The Pain / 05.Sail On Sailor / 06.Got To Be Serious (About It) / 07.Lightning / 08.We Can Make Love / 09.Living's Easy / 10.Standing On A Mountain Top / 11.On The Road / 12.You Turn Me Around

RATING:  7.5 / 10

.    .

*. Pravda .*

Album: Monophobic (2009)
Genre: Prog Rock (Prog Metal/Jazz/Exp.)  /  USA

According to the Collins English dictionary monophobic is "a strong fear of being alone". Does this have anything to do with the music found on the latest Pravda CD? To be perfectly honest I am not sure. What I am sure of is how much I enjoyed listening to Monophobic and just how powerful and moving instrumental music can be. Hailing from Boise, Idaho band members include Dave Thomas (drums, percussion), K.C. Thomsen (keyboards), Tom Svanoe (bass) and Dan Sejd (lead, acoustic and rhythm guitars). The press release states the band sounds similar to Liquid Tension Experiment, Rush, Dream Theater, Genesis and Spock's Beard. I suppose you can hear bits and pieces here and there of the aforementioned bands, but Pravda are pretty unique and not derivative in the slightest. This is progressive rock with elements of progressive metal, classical and the occasional jazzy motif. Although entirely instrumental, this is pretty accessible stuff, if only because there are so many nice melodies permeating their sound. I like how they incorporate heavy riffs and shredding guitar with melodic guitar lines and catchy rhythms. Starting off the CD is the quirky sounding "Butterfly Needle", the album's first single, filled with nifty electronics, spacey synths, crunchy riffs and ending with some shredding guitar. One of my favourites has to be the progressive rock extravaganza that is "Symphonia" an apt title without a doubt. This is a multifaceted nine minute mini epic featuring variations in tempo spread across different movements of classically inspired keyboards, classic progressive metal and melodic lead guitar work laid over dramatic organ flourishes. Also worthy of special mention is "Cattlecar Galactica", another one of those lets 'throw everything in but the kitchen sink' efforts, and I mean that as a compliment as each component adds to the greater whole. Soft guitar, dreamy keys, heavy drumming, crunching riffs, Floydish lead guitar and even a jazzy section hinting of Steely Dan all fit together nicely creating a fine slice of progressive music. While this is an excellent release I do have some minor complaints. The short percussion and drum driven "Thru the Trees" would have made an interesting intro if further developed and the album's longest song "Radio Halo" sounds a tad disjointed in places, but still very enjoyable nonetheless. Putting the minor complaints aside, Monophobic should garner a lot of attention in progressive rock circles and should be well received by readers of this site. Well done gentlemen.  Review by "Jon Neudorf" (www.seaoftranquility.org).

RATING:  8 / 10

.    .

*. Haken .*

Album: Haken (2008)(Demo)
Genre: Prog Rock (Heavy/Prog Metal)  /  UK

When any artist of any kind becomes popular or is brought to new light as a progressor in that field, fans and scholars alike often look to that artist's roots in an attempt to trace his or her path to their renowned greatness. The relatively new progressive metal group Haken is no different. With their incredible debut album Aquarius, they gained instant status within the progressive rock community as one of the "new greats." Being relatively unknown prior to that 2010 release, it was natural for people to begin to dig around and look for previously unreleased material. This search was manifested in the re-release of some of the band's earlier demo material, dating back to the band's formation in 2007. The six song CD runs at nearly an hour, showcasing some of the band's earliest collective recordings. In it the listener can truly hear the roots of Haken's successful style developing within the music. From the pseudo-death metal passages to the fun near-circus music orchestral runs to the overall balance between classic progressive metal and experimental progressive rock, the demo showcases not only a collection of fantastic tunes, but the beginning of a band that is quite clearly on the road to greatness. True to their debut album's style, the six songs run at a rough average of 10 minutes, ranging from around six minutes to over thirteen. Each song is dynamic, exciting, and jam packed with some truly creative music. Whether the band is chugging along with a killer riff, enjoying a gentle melodic section, or sailing along lines of virtuosic instrumental sections, the band seems to know exactly the right amount of each emotion in their music. I really enjoy how even as a young band the five guys have an excellent degree of chemistry and communication between instrumental as well as vocal parts. No matter the arrangement, each musician contributes fully to the overall atmosphere of the composition, giving each track a truly full sound. I was impressed originally on the band's debut of their ability to fuse effortlessly melody in a "heavy prog" fashion with the typical prog metal seen in bands such as Dream Theater and Symphony X to create something that's not quite what I would call your standard prog metal but also not your average heavy prog. This dynamic is also present on this demo, and in some cases even more so. While the metal moments appear to be denser and heavier than on the debut, the lighthearted melodic sections also seem to be more frequent and "merry" as well, with more free-flowing orchestral arrangements and major-keyed vocal sections. The wider dynamic between the two essential poles of Haken's music give the compositions an even more creative edge, drawing in a wide range of audiences as well as appealing to an eclectic base of tastes. In the end, despite simply being demos, Haken's early recordings are a true gem for the foreseeable developing fanboy to own. The hour of official unofficial Haken tunes are fit to appear on a full-fledged album, and are a treat really for any fan of the band's creative and fresh style. Of course as demos the production and execution is not the most perfect it could be as one would see on a studio album, but granted these are demos of a mostly independent progressive rock band, one must give the band some credit - the tracks are pretty damn good. Overall, I really enjoyed listening to these tracks and am really looking forward to the release of the band's second album Visions! Review by "Andy Webb" (Prog Archives).

RATING:  8 / 10

.    .

*. KingBathmat .*

Album: Truth Button (2012)
Genre: Prog Rock (Psychedelic/Stoner/Exp.)  /  UK

"Truth Button" is the new album from KingBathmat. A collection of 6 tracks that fuse and cross-polinate the musical genres of Progressive Rock, Grunge, Psychedelia and Experimental Rock to concoct a vibrant intoxicating brew of complex, intricate melodies and heavy bludgeoning riffs all contained within a running time of approximately 50 minutes. (http://kingbathmat.bandcamp.com)

Songs / Tracks Listing
01.Behind The Wall / 02.Abintra / 03.Book Of Faces / 04.The End Of Evolution / 05.Dives And Pauper / 06.Coming To Terms With Mortality in the face of Insurmountable Odds

Line-up / Musicians
John Bassett / bass,vocals
Lee Sulsh / guitar
Bernie Smirnoff / drums

RATING:  7.75 / 10

.

*. Farpoint .*

Album: Water of Life (2012)(Live)
Genre: Prog Rock (Folk/Crossover)  /  USA

WATER OF LIFE captures the energy of Farpoint's live performances, including material from all 5 preceding Farpoint studio albums, as well as one brand new, previously unreleased song. The album was recorded one magical evening in June, 2011, among the band's family, friends, and fans, in the beautiful Sumter Opera House in Farpoint's home town of Sumter, SC. (www.farpointband.com)

Songs / Tracks Listing
01.Another Day / 02.Calling Out / 03.Water of Life / 04.Dreaming Universal Light / 05.Solar Wind / 06.Darkness / 07.Part of Me / 08.To the River / 09.Still Water / 10.Sojourn / 11.Autumn Sky

Line-up / Musicians
Kevin Jarvis / acoustic guitars, keyboards, mandolin and vocals
Frank Tyson / bass guitar, vocals and whistling
Rick Walker / drums and percussion
Dean Hallal / vocals and rhythm guitar
Abby Thompson / vocals and keyboards
Dave Auerbach / electric guitar

RATING:  7.5 / 10

.

*. Acid Rain .*

Album: One Night Of Reflections (2006)(Ep)
Genre: Prog Metal (Prog Rock)  /  Argentina

Songs / Tracks Listing
01.Nothing Will Be Eternal
02.Moon Tears
03.To Realize Is Hope
04.Re-Evolution
05.Life Is Reborn
06.Shadows (Demo)

Line-up / Musicians
Sebastián Fernández / Vocals
Ezequiel Giménez / Bass
Mariano Revilla / Guitar
Martín Magliano / Drums
Andrés Blanco / Keyboards

RATING:  7.75 / 10

.    .

*. Tri Atma .*

Album: Essential Tri Atma (2012)
Genre: Electronic Prog (Ambient/New Age/Jazz)  /  Germany

Tri Atma is an amalgam of sampled ethnic and classical keyboard sounds, classical/flamenco guitar and eastern/indian percussion set to a world beat rythm some times bordering on island reggae with the overtones of old world european traditional folk instrumentation and classically trained musicianship. tri atma is; Klaus Netzle, a German television producer, and recording artist/keyboardist who incoporates traditional and not so traditional sampled sounds in his accoplished playing; Jens Fischer plays acoustic/ classical guitarist , bass while Asim Saha rounds out the cosmic trio providing eastern indian hypnotic rythms and syncopations on traditional percussion instruments. Their first release in 1982 as Tri Atma called "yearning & Learning" was hailed as an "unpredictable cultural intersection of our times". the three musicians met in Germany in 1976 and were reviewed as "a light, exotic contemporary fusion of indian and electronic popular music with a pulse" . from the moment I first heard it 16 yrs ago till now, nothing has come as close to mesmerizing me musically as TRI ATMA has. I only wish that I could find all of their recordings, I'd buy everone of them 10 times over and send them to many friends who also were entranced by this music! 'ESSENTIAL TRI ATMA' on higher octave is a compilation of 3 previous releases. As Stephen Hill from the program, Music from the Hearts of Space was quoted as saying, "Tri Atma and Klaus Netzle are a total joy...If you don't smile and move...(you better) check your pulse!". (www.amazon.com)

RATING:  7.75 / 10

.    .

*. Court .*

Album: Twenty Flying Kings (2012)
Genre: Prog Rock (Symphonic/Eclectic/Neo)  /  Italy

A new Italian band for an ambitious Progressive music. It alternates rock passages, symphonic flights and classical interludes led by the guitar or the flute in a delicious mixing. The vocals are in English and remind of Peter HAMMILL. The melodical construction alternating quiet parts and crescendos full of tension and intensity reminds of the adepts of this sophisticated and passionate romanticism: CIRCUS, PREMIATA FORNERIA MARCONI, EZRA, WINSTON, LOCANDA DELLE FATE...(www.musearecords.com)

Songs / Tracks Listing
01.Cries / 02.Anastasius Epitaph / 03.The Great Bear Rising / 04.Sumptuous Moment / 05.Lovers / 06.Dream Tale / 07.Alviss' Revenge

RATING:  8 / 10

.

*. Earthlimb .*

Album: Origin (2012)
Genre: Prog Rock (Psych./Electronic/Post/Crossover)  /  Germany

Well, well, and, for good measure, well. This is a lovely little surprise. This unassuming debut album from progressive outfit Earthlimb is one of those records that creeps up on you and gets under your skin without you noticing but stays there like a fresh tattoo. Earthlimb are a trio of multi-talented musicians headed by Patrick Hagmann, who serious death metal fans will recall used to play guitar in the German melodic death metal outfit Fear My Thoughts until their breakup in 2010. Hagmann has joined forces with former FMT drummer Norman Lomhad (who also pummelled the skins for Triptykon) and Alex Bleiziffer to create this new project. Although ostensibly a three piece, you do get the sense that this is Hagmann’s project (albeit with sterling support) as he plays all the other instruments on the album and it’s pretty much his artistic vision on display here. And it’s about as far away from death metal as you could imagine. With influences as varied as Pink Floyd (there’s even a flying pig on the album’s artwork for heaven’s sake), Mogwai, Radiohead, and Porcupine Tree, this is one of those records that you put on just to see what it’s like with little or no expectation and then find yourself, some forty or so minutes later going “well, that was dead good” and putting it on again. Well, I did anyway. “Origin” is a quiet and unassuming opening track; its calm melodies warmly invite the listener in; it’s like being led into the sea for your first swimming lesson or surf ride. It guides us nicely to “Hiding”, a seven minute track that veers from sublime, relaxed melody to pained anguished guitar part- it’s a really interesting and beguiling track, packed with ideas and atmosphere: just like the rest of this album. “Pulsar” sounds like it could have been an outake from Radiohead‘s “Kid A” album, albeit one where the guitar was front and centre and not hidden away like some maltreated child. “Pulsar” has a really- ahem- pulsing undercurrent- it sounds at times like it should be part of a soundtrack to a European arthouse movie- one with a big car chase though. “Oceans of Astate” is what I imagine would have happened if Steven Wilson had decided to join Mogwai and is, for me, the album highlight. It’s a little bit of an epic, if truth be told, with great melodies and creative ideas tossed around like confetti. “The Red Tide” is reminiscent, in its opening bars at least, of Genesis or maybe “Hemispheres” period Rush and there is a lovely guitar part that Alex Lifeson wouldn’t cock a snook at, too but its in its completely effortless melody that the song really takes flight. It’s proper prog rock with huge orchestration and atmospherics building a sense of drama and place. “Virtues” has a very proggy, very spaced out feel to it and, dammit, is that not a trip hop drum part that leads off the becalmed and ambient “Bloom of Light”? I rather think it is. “Waves” brings us crashing back from our zen like trance state in a hurry, marching us to the end of the record in good order and just in time for us to do it all again. Look, I know that we’re supposed to be all objective and things but I was really bowled over by Earthlimb and this debut album. It’s packed full of ideas, lovely melodies and just seems to get better every time I play it. Dump your prejudices at the door, open your mind and your ears and be prepared to be utterly enthralled. Review by "Mat Davies" (www.thisisnotascene.com).

RATING:  8.75 / 10  **FANTASTIC**

.

*. Thought Sphere .*

Album: EOS (2001)
Genre: Prog Metal (Prog Rock)  /  Germany

Songs / Tracks Listing
01.Each Passing Moment (5:31)
02.Shrine of the Saint (5:18)
03.In Fate's Web (4:31)
04.Seventh Raven (5:10)
05.This Cosm's Wall (4:35)
06.Hourglass (5:13)
07.Gold (3:13)
08.Prophecy (4:29)
09.Eos (5:01)

Line-up / Musicians
Andreas Lohse / vocals
Adrian Weiss / guitar
Jens Schäfer / guitar
Armin Alic / bass
Andreas Lösche / drums

RATING:  7.5 / 10

.    .

*. Francesco Guccini & I Nomadi .*

Album: Album Concerto (1979)
Genre: Prog Folk (Pop/Singer/Songwriter)  /  Italy

Dopo essermi riletto tutto d'un fiato il libro "La legge del bar e altre comiche" sono andato a riascoltarmi questo cd di Francesco Guccini che per l'occasione viene accompagnato dai Nomadi. O potrei dire questo cd dei Nomadi che vengono accompagnati da Guccini. Mettetela come volete ma il risultato è lo stesso: straordinario. Innanzitutto lo reputo un cd particolare perché troviamo nello stesso momento due voci inimitabili. Oltre a quella di Guccini, compare quella del compianto Augusto Daolio, voce storica dei Nomadi. Prematuramente scomparso nel 1992, la voce di Augusto continua a regalare emozioni e brividi ogni qualvolta la si ascolti. In quest'opera le due voci si sovrappongono, si completano fino a diventare una voce unica. Sono presenti solo 9 canzoni ma è proprio il caso di dire che non conta la quantità ma la qualità. E la qualità dei pezzi è a dir poco straordinaria. Già l'inizio è struggente: "Canzone per un'amica" con il suo "Lunga e diritta correva la strada, l'auto veloce correva, la dolce estate era già cominciata, vicino lui sorrideva." Si continua con "L'atomica cinese", "Noi non ci saremo", "Per fare un uomo", (per fare un uomo ci voglion vent'anni, per fare un bimbo un'ora d'amore, per il dolore è abbastanza un minuto...), "Primavera di Praga", "Dio è morto" (chissà perché ma questa canzone riusulta sempre attuale benché passino gli anni), "Auschwitz" (e sembra quasi di essere ad Auschwitz in quel freddo giorno d'inverno in cui c'era la neve e il cannone ancora tuonava e, purtroppo tuona ancora), "Noi", "Statale 17". Insomma un cd (ma io ho anche la cassetta) per riascoltare insieme due grandi amici prima che due grandi artisti. E per commuoversi ascoltando la musica. Recensione di "dozo" (www.ciao.it).

RATING:  7.75 / 10

 .

*. Lino Capra Vaccina Ensemble .*

Album: Sulla Corda Di Luce (1998)
Genre: Prog Rock (Ambient/Ethnic)  /  Italy

Songs / Tracks Listing
01.Mythos
02.Alla luce della sera
03.Sulla corda di luce
04.Rituali di passaggio
05.Eufonia
06.La pioggia sull'acqua
07.Armonie notturne in movimento

RATING:  7.5 / 10

.    .

*. Vajra .*

Album: Pleroma (2012)
Genre: Crossover Prog (Alternative)  /  USA

Pleroma, the debut album by Vajra, is a foreboding exercise in hypnotic pulses, Middle Eastern tension, and passionate singing. Its melodic accessibility complements its dark, critical tones well, and there is a sense of outrage and revolution throughout. It's not the most original or varied collection of songs, but its cohesion and zealousness make it an enjoyable ride and admirable effort nonetheless. Vajra is the brainchild of Indian prodigy, Annamaria Pinna. A composer/singer/instrumentalist, Pinna began questioning the world around her at an early age, as well as starting playing violin and flute before she entered her double digits. She studied music theory at Julliard and believes that "there is divinity in creativity." According to her, Pleroma is an "exploration in paradox (east vs. west, soft vs. pummeling, female vs. male, etc)." Utilizing the talents of drummer Blake Fleming (ex-The Mars Volta), bassist Doug Wright (The Dark Pearls), and guitarist Will Dehl (ex-Harley's War), the band builds a colorful, bleak world with their music. From the outset of opening rocker "Inside the Flame," Vajra feels like the perfect mixture of Garbage, The Gathering, and Manooghi Hi. Indian chants and instrumentation mix with prog rhythms and guitar riffs, and Pinna's mixture of seductive directness and ghostly whispering is quite effective. "Almost One" is a slower and more thoughtful ballad, and "India" provides an almost monotone, calm bridge to the sitars and intense percussion of "Blind." It's like a musical volcano. "Intuition" builds superbly to penetrating vocal collages, while "3.14" brings some delicate sorrow to the record with its strings, regretful melodies, and reflective atmosphere. "See Through You" concludes with prog metal crescendos, and the apocalyptic repetition of "Akkord Pleromy" offers a grand segue into closer, "The Apple." The longest song on the album, this track is probably the most gripping and complex. Once again, Vajra display great usage of dynamics as they pile on several layers before ending. Pleroma is an exhausting listen (in a good way); it's packed with personal and musical urgency and tautness, as well as some impressive playing and interesting timbres. The tracks share some common sounds and approaches (which hinders the sense of surprise and uniqueness), but each song brings something worthwhile to the table. Most of all, Pinna's dedication to detail, composition, and expression shine throughout, conveying the fact that every note of Pleroma means something to her (even if it doesn't to us). Review by "Jordan Blum" (www.seaoftranquility.org).

RATING:  7.5 / 10

.

*. Acid Rain .*

Album: Worlds Apart (2008)(Ep)
Genre: Prog Metal (Prog Rock)  /  Serbia

Songs / Tracks Listing
01.Worlds Apart (5:57)
02.Solitude (3:53)
03.Guide the Blind (5:57)

Line-up / Musicians
Srdan Zuvić / vocal
Nikola Krstović / guitar
Bojan Petrović / guitar
Matija Anđelković / keyboard
Andrej Misić / drums
Stefan Golubović / bass

RATING:  7.5 / 10

.    .

*. Angelo Santo Lombardi (Giardino delle Delizie) .*

Album: I Giorni di Eurisko (2004)
Genre: Prog Rock (Symphonic/Crossover)  /  Italy

Coming from Milan, Angelo Santo Lombardi is a keyboardist who appreciates Italian Progressive Rock. For this reason he collaborated with bassist/guitarist Gabriele Paganoni and came up with his original material in 2004.His debut was a self-produced work, produced by Alessio Brocca in Lissone near Milan, and saw the light under the title ''I giorni di Eurisko''. What strikes the listener already from the first listening is Lombardi's very romantic and highly emotional approach in music, highlighted by his work on piano and keyboards. For keyboard/piano lovers there are lots of things to love in this album.From Lombardi's vintage organ sounds to his sensitive piano interludes and the atmospheric synth work. Additionally his voice is great, typical of an emotional Italian singer and close to this of PIETRO RATTO of ATON'S fame. Actually the musicianship has often much to share with ATON'S albums, soft and melodic semi-prog adventures with plenty of vocal parts with a warm delivery but still with some nice instrumental parts. The style is fairly symphonic with a fair dose of Classical influences but also plenty of pop sensibilities of fine inspiration. The drumming though is programmed and a reason the album never really takes of in terms of quality. Paganoni has his moments too and when the space is offered he performs some great electric solos, making the album a bit more flexible. A new entry, which is more than welcome.If you are a fan of LE ORME and a few accesible tunes do not bother you, Angelo Santo Lombardi's debut is a reason to stay at home and listen to some decent modern Italian Prog with an excellent atmosphere. Recommended. 

Review by "apps79" (Rate Your Music).

RATING:  7.5 / 10

.

*. White Heaven .*

Album: Next To Nothing (1994)(Ep 4 Track's)
Genre: Prog Rock (Blues/Jazz/Psychedelic)  /  Japan

This is the only White Heaven record featuring both Michio Kurihara and Soichirou Nakamura. It is also a real standout being a sad, dark, cocktail bar jazz record (featuring a Burt Bacharach cover) combined with a light Quicksilver Messenger Service influence. Both the playing and the songs are excellent on this release, making it the most beautiful and my favourite White Heaven album. If only now they'd rerelease the six track vinyl issue. Review by "c_deep" (Rate Your Music).

RATING:  7.75 / 10

.    .

*. Starring .*

Album: ABCDEFG-HIJKLMNOP-QRSTUV-WXYZ (2012)
Genre: Prog Rock (Psychedelic/Exp./Jazz/Post)  /  USA

Where many modern prog-rock bands emphasize the complexity of the compositions over emotional tonality and mood, Starring understands there’s a gleeful joy in playing and listening to prog; there’s a reason Robert Wyatt always has a twinkle in his eye. Starring takes elements of ’70s free-jazz, Krautrock, minimalism and ’90s post-rock and refastens them as a vessel for joy and positivity. Sure, it can be a jarring experience. Listening to ABC… often feels like getting peppered with a double-barrel paint-ball gun, but it’s such a bustling, hyper-active burst of color that you forgive the occasional bruise. The album reaches its dizzying height on its two longest tracks, “———ooooooooooo” and “….7….,” which both break the nine-minute mark. Given the opportunity to space things out and meander, the group is able to conjure a buoyant hypnotic power. “———ooooooooooo” begins with an interstellar section of Who-like organ vamping, warped guitar textures and pitter-patter percussion, before shifting to a mystical section of Hunter’s ethereal vocals, then transitioning to even more baroque organ noodling and finishing with romantic murmurs from Hunter. It’s repetitive, yes, but it’s also transfixing, like someone stretched a Beach House song into a thin membrane and wrapped it around the cosmos. “….7….” is more on the haunting and creepy side, using a searing violin part to set the stage for a noise-based guitar dirge. “Aphonia” is the closest the band comes to writing a traditional propulsive math-rock anthem. Its gradually shifting guitar line, lumbering drums and big cathartic vocal parts (“Oh, you’re such a smooth operator,” sings Hunter) provide a nice punk fulcrum between the intimidating pillars of “———ooooooooooo” and “….7….” That type of expert sequencing helps to give the record a vibrant sense of variety and color. At times the album plays like the Soft Machine’s Third rewritten using only Crayola’s, glitter and construction paper. Despite the band’s expert playing and sophisticated reference points, there’s still a child-like sense of wonder at work in these songs. Maybe that explains the curious title?  
Review by "Dan Jackson" (www.cmj.com).

RATING:  8 / 10

.

*. Gowan .* (Remaster 2012)

Album: Great Dirty World (1987)(Remaster 2012 + 3 Bonus)
Genre: Prog Rock (AOR/Melodic Rock/Pop)  /  Canada

Released a couple years after Strange Animal -- the album that really launched Gowan's career, at least in his native Canada --, Great Dirty World establishes a transition: from pop to rock, from a predominantly synthesized sound to something more visceral, from teen years to maturity. It tends to be under-appreciated, mostly because its follow-up Lost Brotherhood contains harder rocking riffs, but Great Dirty World, if anything, proves how good a melodist Gowan can be. This album also gave him his biggest taste of international attention, thanks to the opening track and first single "Moonlight Desires," featuring Yes' Jon Anderson as guest vocalist. The latter's contribution is more than that of a usual back-up singer, his angelic voice, entering two-thirds into this pop anthem, makes it literally soar (on a side note, this album has another connection to progressive rock through the presence of King Crimson bassist Tony Levin). Other highlights include the ballads "Great Dirty World" and "Dedication," the latter one of the finest songs Gowan has written, thanks to a memorable melody in the verse and a bombastic chorus. In comparison, the more rocking numbers sound bland. "Awake the Giant" and "Human Drama" are pale examples of mid-'80s rock, trying to combine synthesizers with a nasty attitude --Lost Brotherhood features much better songs in this vein, but lacks the pop sensibility. Review by "François Couture" (www.allmusic.com).

RATING:  7.75 / 10

.    .

*. Angelo Branduardi .* (Remaster)

Album: Highdown Fair (English Version "Alla Fiera dell'Est") (1978)(Remaster 2009)
Genre: Prog Rock (Symphonic/Folk/Pop)  /  Italy

CD 4 - The Universal Music Collection (Boxset 2009)

Songs / Tracks Listing
01.Highdown Fair
02.The Herons
03.Old Men And Butterflies
04.Lullaby To Sarah
05.The Song Of Eternal Numbers
06.The Stag
07.The Funeral
08.The Man And The Cloud
09.Under The Lime Tree
10.A Song Of Regret

Line-up / Musicians
Angelo Branduardi / vocals, violin, guitar, piccolo guitar, lute, flute
Tiziana Botticini / harp
Gigi Cappellotto / bass
Bruno De Filippi / bouzuki, cuica, banjo, sitar, harmonica
Maurizio Fabrizio / guitar, lute
Mario Lamberti / percussion
Gianni Nocenti / clarinet, piano
Andy Surdi / drums

RATING:  8.25 / 10

.

*. Zahara .*

Album: Flight of the Spirit (1983)
Genre: Jazz Fusion (Soul/Funk/Prog Rock)  /  UK

Decent lite funk-jazz-rock instrumentals, like early '80s King Crimson, a more laid-back Primus, Defunkt, etc. Not funky like ESG, Tussle, Liquid Liquid, though. It's hard to explain what it is, since the most interesting thing about it is what it is not, if that makes sense. Review by "shockofDAYLIGHT" (Rate Your Music).

Songs / Tracks Listing
01.Total Dune/ 02.Flight Of The Spirit / 03.Valeska / 04.Nothing To Declare / 05.Unexpected Reality / 06.The Stalker / 07.Heath In The Night 

RATING:  7.25 / 10

.    .

*. Laurence Vanay (Jacqueline Thibault) .*

Album: Galaxies (1974)
Genre: Prog Rock (Folk/Psychedelic)  /  France

Laurence Vanay is actually the alias of french keyboardist/singer/songwriter Jacqueline Thibault. I'm guessing she assumed this name in order to compete in the male dominant prog community (whatever that is), or perhaps I'm missing some vital piece of information. What is clear, is Galaxies displays no mere "prog" type pretentions. Yes, there are classic prog moments here - a guitar progression climbing up some mythical castle wall, the wailing licks and the subdued Bach-ian organ runs setting the tone, or some jazzbo jam-band workouts walking a fine line between fusion shenannigans and tact, but in the adept hands of Thibault, clearly everything is touched with class and mystery. One of the most appealing qualities is her voice, a thick and charming tone similar to early Brigitte Fontaine, or even Brazilian legend Nara Leão. She has a sweet phrasing that seems at odds with her musical prowess, a formidable compositonal sense that is dangerously enchanting. Thibault is truly front and center here, composing the bulk of (if not all) these tunes, and if the photos of her playing numerous instruments in the gatefold artwork are any indication, she's also pulling multiple duties, often assisted by her husband, ex-Magma bassist Laurent Thibault. Review by "ignatius" (Rate Your Music).

RATING:  8 / 10

.    .

*. Invisigoth .*

Album: Alcoholocaust (2007)
Genre: Prog Rock (Prog Metal)  /  USA

Forget the NWOBHM band name, CD title and cover art: Invisigoth's Alcoholocaust is not New Wave of British Heavy Metal. In fact, it's the antithesis of that. And it's actually quite terrifying, in a laid-back, arty sort of way. Think Porcupine Tree or Blackfield providing the soundtrack to slow torture. Yet, this is an engaging and imminently listenable spin. Consisting entirely of two members - Cage on all instruments and Viggo Domino on all vocals - Invisigoth sets out to make a primal musical statement with foundations in esoteric philosophy, hedonism and psychedelics. Domino takes his voice in so many multiple and moody directions that he often sounds like more than one vocalist, and Cage deserves a drink for his ability to make music epic, dense and sparse (and then somehow piece it all together effectively). The duo throws in a Led Zeppelin cover at the end, for some reason. Ultimately, this is one for goths, proggers and rockers that will leave them with a sense of uncomfortable satisfaction. Review by "Michael Popke" (www.seaoftranquility.org).

RATING:  7.5 / 10

.

*. Hemlock .*

Album: Exordium (1994)
Genre: Prog Metal (Heavy/Prog Rock)  /  Canada

This Canadian 'heavy progressive'quartet includes John Brown (electric - and acoustic guitars, violin, recorders, flute and backing vocals), Dean Roberts (fretless bass), Todd Nesbitt (drums and percussion) and Jim Rose (vocals, electric -, acoustic - and classical guitars, bass pedal, synthesizer and percussion). In '94 they made their debut-album entitled "Exordium", a blend of folk, hardrock like Metallica and progrock like Rush. Unfortunately Hemlock turned out to be another promising one-shot band. In my opinion the album "Exordium" is a bit overlooked gem. Due to frequent accellarations, shifting moods and heavy outbursts, Hemlock sounds often very exciting. Another strong point is the constant tension between on one side the acoustic instruments (classical guitar, flute and many violin solos) and on the other side the electric guitar and powerful rhythm-section. The beautiful epic song "The immortal" (almost 20 minutes) is the only composition that contains flute and synthesizer. The guitarplay on the whole album is magnificent (howling and biting solos and strong overdubs), it could have been a tribute to Alex Lifeson, one of the most underrated rock guitarplayers. Review by "erik neuteboom" (Prog Archives).

RATING:  7.5 / 10

.    .

*. Luna .*

Album: Luna (1981)
Genre: Prog Rock (Pop/Rock)  /  Italy

By late-70's it was not only Osanna's days over but the whole prog scene in Italy and worldwide was facing a downfall.Danilo Rustici formed Luna in 1977, shortly before Osanna disbanded for good.They released two singles on Ariston and a third one came out in 1980 under the name Tunnels.After returning to their original name, Rustici's Luna with Joe Amoruso on keyboards, Dario Franco on bass and Sabatino Romano on drums released a self-titled debut on Splash label. The album has only a historical perspective as it contains melodic and poppy straightforward Rock with only some hints of Rustici's past on a few instrumental orchestrations like on the opening ''Sulla luna'' or ''Un seme strano''.However the commercial approach of the band is another proof of Rustici's diverse character and composing skills, with some good guitar riffs and elegant piano paces, as most of the tracks contain some trully memorable beats and choruses under the typical easy-going Rock sound of the time.''L'isola'', ''In concerto'' with the Fusion-esque synths or ''Come va'' are nice examples of tapping your foot while listening to these grooves.On the other hand ''Lou Jean'' is absolutely dull with some BEE-GEES like vocal arrangements and ''Serenade'' is an English-sung track of little interest, where the cheap instrumentation starts to bother the listener. Luna did not appear in any further recordings, leaving behind a good album for fans of 80's commercial rock, which though has a little value for prog fans, who expect something out of Danilo Rustici's monster prog past. 
Review by "apps79" (Rate Your Music).

RATING:  6.5 / 10

.    .

*. Noetics .*

Album: Cohearence (2001)
Genre: Psychedelic Rock (Jazz/Electronic/Jam Band)  /  Germany

Songs / Tracks Listing
01.Miraculix (3:55)
02.Ikasaubaahh!dukasauba (4:59)
03.Raumnacht (4:32)
04.Bossa Supernova (2:42)
05.The Dude (5:19)
06.Mind, The Gap (4:54)
07.Gunsch! (4:37)
08.Song Of The Barnecles (5:56)
09.Flugbereiter (5:20)
10.Der Schleicher (5:45)
11.Bothfeld Skyline (6:01)
12.Element 105 (7:36)

Line-up / Musicians
Ole Ohlendorf / keyboards, synthesizers
Christian Schmidt / percussion
Christoph Majewski / guitar, guitar synthesizer
Patrick Wurster / drums
Arne Borchard / bass

RATING:  7.75 / 10

.    .

*. Breaking Orbit .*

Album: The Time Traveller (2012)
Genre: Prog Metal (Prog Rock/Heavy/Alternative)  /  Australia

Like many progressive hard rock acts before them what makes or breaks an album is how capable the album is of telling a desired story. For the Sydney progressive rock newcomers Breaking Orbit their first story of their music career comes in the form of the ambitious debut album The Time Traveller. The Time Traveller combines gorgeous thought provoking artwork with a brand of rock that allows listeners to embark on one epic journey over the course of twelve tracks. As the album title suggests Breaking Orbit are trying to alter familiarity, bend the conventional restraints we as humans are accustomed too and use music as an attempt to connect with a much deeper meaning. The possibility of the band achieving this with The Time Traveller can accurately be summed up with their own lyrics: “Will we ever make it through? Only time will tell...” The lyrics above are drawn from ‘Echoes’ the opening cut off The Time Traveller which begins what is a sixty minute journey traversing the wilderness of time and space. Ethereal spacey effects warp and stimulate the senses, as if being lost in space or between the fabrics of time. ‘Echoes’ establishes a daunting atmosphere through the use of these effects along with heavy bass, soaring guitar, precision drumming and solid euphoric vocals that seem to float out of the unknown. By the time steady opener subsides it becomes time for ‘Conscious Self’ to bathe in the limelight. After a minute build-up lead singer Matthew Quayle’s rich voice begins to resonate with a crunching bass line. A sense of intensity can be senses in the atmosphere of this song and soon erupts in the chorus. Faster drumming drives the pace shift in which the pleading, catchy lyrics feed on. The vocals here are layered with effects to the point they fade into the melody, which is extremely beneficial for the direction of the song. ‘Conscious Self’ feels like the mysterious being this album is focusing on is quickly speeding through the vast reaches of things thought previously impossible and they a storm may be gathering in the distance. Not all the songs on The Time Traveller are this complex either, with ‘My Direction’ sculpted to sound like friendlier straight forward rocker still accompanied by some of their own unique traits. Unusual drum beats introduce ‘My Direction’ and get quickly paired with hypnotic guitar picking and much clearer vocals to give the album some diversity. Whilst Breaking Orbit are weaving this interesting story for listeners, they also provide a number of instrumental pieces where people can collect their thoughts and enjoy some exciting musicianship. The first instrumental ‘Machiguenga’ begins rather slowly, but continues to gather pace throughout the entire track. The use of a Quena (Bamboo Flute) gives the track and an ancient feel, and really pushed the sense of time travel. It’s like listening to what you know mixed with the unknown influences of another civilization and seeing how both connect and prosper. These instrumentals also give a chance for the band to show off how good they are at telling a story without using any words. The next two instrumentals are short and sweet, but both give off an integral sense of heartbreak. This suggests that perhaps being able to traverse the sands of time is more of a burden than a gift and what was once a thought to be desired is now feared. From here electronic tones and the earthy effects of a baron wasteland found in ‘Ice Warmth’ suggest that our story is coming to a close, with a sense of optimism. The entrance of haunting desperate guitar and symbol heavy drum use suggest what was once building is either ready for one final battle or coming to a close. This fades out into the catchy opening lyrics to the second last track ‘Orion’. The chorus is epic and hopeful due to the traveller coming to grips with the potential to be lost in the abyss of time forever. The guitar work and various electronic nuances begin to wash over you like a calming ocean yet, quickly changing like the sea to show off its unbridled ferocity in a massive crunching conclusion. ‘Silence Seekers’ sees the album end with a somewhat sense of resolution and understanding. Showing off an accumulation of everything the band has done so far on the album and finishes it with the sound of acoustic guitar being echoed into the unknown. Breaking Orbit has managed to successfully tell one hell of a story and take listeners on an amazing atmospheric ride with their debut album The Time Traveller. I cannot label one word to accurately sum up the feeling of emotion, power, captivation and atmosphere that this album allows you to experience. Combine this with some brilliant album artwork and you will not be taking this album lightly. Listen to The Time Traveller in peace and quiet, if you would like to take advantage of all it has to offer. The sixty minutes it took me to listen to this album did not feel like an hour had passed. So perhaps the beauty of this album is by investing enough time into it, it will allow you to feel involved enough with the storyline to walk free to a place where time cannot define you. Review by "Joel Hargreaves" (http://sputnikmusic.com).

RATING:  7.5 / 10

.