sexta-feira, 31 de agosto de 2012

*. Wellington .*

Album: A Döntő Lépés (1995)
Genre: Heavy Prog (AOR/Hard Rock/Metal)  /  Hungary

Songs / Tracks Listing
01.Ember (Human)
02.A Föld Asszonyai (Women of the Earth)
03.Az akarat lángja (The Flame of Will)
04.A döntő lépés (The Decisive Move)
05.Férfivér (Manblood)
06.Szerencsecsillag (Luckstar)
07.Egy régi barát (An Old Friend)
08.Nincs szégyen, nincs bűn (There's No Shame, There's No Sin)
09.Hétköznapi horror (Everyday Horror)
10.Álarc nélkül (Without A Disguise)
11.Soha nem halsz meg (You Will Never Die)

Line-up / Musicians
Endre Paksi / Vocals
Róbert Juhász / Guitar
Csaba Berczelly / Bass
György Nagy / Keyboard
Zoltán Fábián / Guitar
Róbert Juhász / Drums

RATING:  7.5 / 10

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*. Marsyas .*

Album: Pieces of Favour (1981)
Genre: Prog Folk (Blues/Soul/Jazz)  /  Czech Republic

There is no reason to complain for the lack of variety in the contemporary rock scene. The dominating trends change from season to season and besides the heavy metal groups and new wave music there is enough space for all kinds of different styles. During the last decades of the rock history we experienced a whole bunch of them. The musical roots of Marsyas are linked with the musical innovations of the late 60's — especially with the groups that brought together electric rock and folk heritage — as Crosby, Stills, Nash and Young or the Fairport Convention — and most directly with Bob Dylan. Zuzana Michnova and Petr Kalandra, the founder members of the group, went through similar development as many of their folk-rock centemporaries. First they played in local teenage rock bands and later they started their career in the folk circuit. This happened in 1972. At that time Marsyas consisted of three members, accompanying themselves on two acoustic guitars. Five years later came their first album which showed the group in a slightly different light, with a rock backing set-up using a Fender piano, drums, electric guitar and bass and additional instruments. With the exception of two songs the whole LP introduced original material by the members of the group. Marsyas went through a major change in 1978; the personnel featured two new members. Pavel Skala emerged soon as one of the most promising players who could easily switch between acoustic and electric guitar. Jin Vond-racek, the fourth member of the band, is a talented singer, guitar player and a younger brother of Helena Vondrackova, a popular singer of the Czech mainstream pop. With this personnel Marsyas produced their second album Pieces of Favour. The concerts of the band as well as this LP is composed mainly of songs written by vocalist and the leading force of the group Zuzana Mich-nova. Petr Kalandra is an expert on blues, folk tunes and Bob Dylan songs and on this record he performs James Taylor's Fire and Rain. During 1981 Vondracek joined a straightforward rock band called Turbo and was replaced by a young conservatory of music graduate Ja-roslav Nejezchleba who plays cello and electric bass. This album was recorded with the help of some of the best players of the Prague rock scene - Jin Vesely and Petr Pokorny from the Etc… — and with Jiri Hrubes who plays in the new-wave band of the keyboard player Michael Kocab and seems to be the busiest drummer in town. (http://encyclopaedia-music.narod.ru)

RATING:  7.75 / 10

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*. De Gladas Kapell .* (Remaster)

Album: Spelar Nilsson (1978)(Remaster 2005)
Genre: Jazz Rock Fusion (Prog Rock)  /  Sweden
  
De Gladas Kapell was formed around two ecellent musicians from Sweden Costea Apetre on guitars  from Samla Mammas Manna, Jukka Tolonen Bnad and Stefan Nilsson on keys. Thband plays jazz fusion wth progressive rock leanings of the highest calibre with excellent musicianship and very strong ideas. Similar with Return to Forever or Brand X but with that special scandinavian atmosphere this album kick with every note they play. All musicians from here become worldwide known and played with many bands and artist across theyears showing that they are among the best in thisa field. Alternate from furios jazz fusion with some excellent breaks and inventive arrangements to more smooth and elegant atmosphere De Gladas Kapell is one of a kind in Swedish musical scene and why not in Europe aswell. Pieces like Kelt Visan or title track shows that the musician know to handle the instruments and create something of a true value in this genre. Recommended, 3.5 star, a great albumwho will please every serious fan from progressive rck to jazz fusion aswell. My Cd is from Lion Music re released on CD in 2005. 
Review by "b_olariu" (Rate Your Music).

RATING:  7.75 / 10

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quinta-feira, 30 de agosto de 2012

*. Triana .*

Album: Concierto Básico (1980)(Official Bootleg - Reissue 1994)
Genre: Prog Rock (Andalusian Rock/Symphonic Prog)  /  Spain

Songs / Tracks Listing
01.Recuerdos de Una Noche
02.Tu Frialdad
03.Una Vez
04.En el Lago
05.Corre
06.Abre la Puerta

Line-up / Musicians
Jesús de la Rosa / keyboards, vocals
Eduardo Rodríguez Rodway / guitar
Antonio Pérez / guitar
Manolo Rosa / bass
Juan José Palacios Tele / drums

RATING:  8 / 10

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*. Kormorán .* (Reissue)

Album: Folk & Roll (1984)(Reissue 1997)
Genre: Prog Folk (Heavy/Medieval/Symphonic)  /  Hungary

Back then, in the 60s and 70s, Hungary had a strong rock movement (though only few bands like OMEGA and, in lesser degree, LOCOMOTIV GT became known outside the Eastern Bloc). And Hungary has rich folk traditions. KORMORÁN were probably the first who combined these parts in absolutely natural, organic way. Founded in 1976, the band released a couple of singles, took part in ''Kőműves Kelemen'' rock opera, came through some line-up changes and only in 1984 released their first LP ''Folk & Roll''. The title says it all: folk traditions and rock power. In many ways it was a revolutionary record. ''Folk & Roll'' defined the band's future sound for many years, most of these songs became classics and were re-recorded, live and in studio, by different KORMORÁN line-ups. Many of them are played in concerts till now. And, last but not least, songs are memorable. This album does not contain long epics, but songs are quite complex in structure, have good contrasts between lighter and heavier parts, the interplay between acoustic (violin, flute, bagpipes, Turkish pipe) and electric rock instruments is masterful. There is a lot of things to discover with each new listen. The release of ''Folk & Roll'' made it evident that a unique band, powerful, versatile and at the same time very Hungarian in nature, was born. Personally I prefer some later KORMORÁN records, but nothing would be possible without this short (by today's standards) album. Essential part of the band's discography. Highly recommended. Review by "NotAProghead" (Prog Archives).

RATING:  8.75 / 10  **MARVELLOUS**

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*. The Ganjas .*

Album: Resistance (2011)
Genre: Psychedelic Rock (Shoegaze/Neo Psych.)  /  Chile

This band is a symbol of the new psychedelia of the Millenium in Chile with an interesting international career resulting from hard work live and immaculate rock spirit of its experienced members: Samuel Maquieira (vocals, guitar), Pape Astaburuaga (bass and vocals), Aldo Benincasa (drums) and Pablo Giadach (guitar and vocals). With a long and successful career -including tours and concerts in Brazil, Colombia, Uruguay, Argentina and the United States “The Ganjas” releases “Resistance”, their fifth studio album with Jack Endino as producer, solidifying its proposal in a mature sound of international level. (http://algorecords.com)

Songs / Tracks Listing
01.Resistance
02.Let it down
03.Frozen borderline
04.Sister
05.Meantime
06.Realm
07.Smoke chain
08.Magnetic depth
09.Swim back

RATING  7.5 / 10

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*. Extra Ball .* (Remaster)

Album: Aquarium Live No.3 (1978)(Remaster 2009)
Genre: Jazz Rock Fusion (Prog Rock)  /  Poland

Polish Jazz-Rock Fusion band Extra Ball was the best and most dominant ensemble on the local scene in the late 1970s. Founded by the best young Polish Jazz musicians at the time, members of the second generation of the country's splendid tradition, they displayed an amazing level of individual talents both as players and composers. Led by guitarist Jaroslaw Smietana, the initial incarnation of the band also included saxophonist Andrzej Olejniczak, keyboardist Wladyslaw Sendecki, bassist Jan Cichy and drummer Benedykt Radecki. These live performances are the last recording by the original lineup, except for drummer Marek Stach, who replaced Radecki. Recorded live at the Warsaw Aquarium Jazz club, this is an amazing performance with a band at their highest peak, but torn internally as to the musical direction, which led to their demise soon after, with Sendecki and Olejniczak forming Sun Ship. The inclusion of two Jazz standards clearly points out the tendency of some band members to return to the more traditional Jazz forms rather that continue the Fusion path. Smietana's superb guitar licks will amaze every Fusion fan, who was never exposed to his performances and Sendecki's keyboard wizardry is simply astounding. This is an excellent album, which all Fusion lovers on this planet should be proud to have in their collections. An absolute must! Review by "Jazzis" (Rate Your Music).

RATING:  8.25 / 10

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quarta-feira, 29 de agosto de 2012

*. Koncz Zsuzsa .*

Album: 37 (2010)
Genre: Prog Folk (Pop/Rock  /  Hungary

Songs / Tracks Listing
01.Üzenet az égből (Bódi László)
02.Még itt vagyok (Tolcsvay László - Bródy János)
03.A szebb jövő (Bródy János)
04.Valahol távol (Bornai Tibor)
05.Volt egy jó napom (Bródy János)
06.Hol tévedtél el (Lerch István - Bródy János)
07.Nem hall, nem lát, nem beszél (Závodi Gábor)
08.Csak szállj (Bódi László - Gráf Légrádi Balázs)
09.Ismeretlen nyár (Tolcsvay László - Tóth Krisztina)
10.Hópelyhek (Bornai Tibor)
11.Dum-duli-du (Gerendás Péter - Bródy János)
12.Álomgyár (Lerch István - Bródy János)
13.Ahogy állnak a csillagok (Bródy János)
14.Soha ne kérdezd (Lerch István - Karafiáth Orsolya)
15.Ne félj (Lerch István - Bródy János)
16.Suzanne (Leonard Cohen - Bródy János)

RATING:  8 / 10

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*. Negua .*

Album: A Way Out (2006)
Genre: Prog Rock (Neo Prog)  /  Spain

Negua is a new Spanish five piece band with members from former Spanish prog bands Dracma and Unoma. During my first musical encounter with Negua I was pleased with their sound but to me it sounded a bit polished. However, as usual for good prog, a further investigation delighted me: what a varied, adventurous and especially dynamic prog this is! The first song Bagdad (about political failure and suffering civilians) contains a lot of tension, often with bombastic interplay between guitar and organ and inspired vocals. The ominous middle part delivers furious guitar and propulsive, militairy beats, it sounds like the musical translation of raining bombs and screaming people and reminds me of Forgotten Sons by Marillion (another complaint about political failure and suffering people). The next three songs showcase Negua their adventurous mind and variety: A Reason To Believe is melodic rock with strong guitarwork (sometimes evoking Eighties U2), Late Night contains a tight beat with delicate orchestrations and fiery guitar and Bright Light is alternating with halfway soaring keyboards and a moving guitar soli with howling runs. The final two tracks are quite long: first the very dynamic Lullaby (from dreamy to bombastic eruptions) with great guitarplay (from sensitive runs to propulsive riffs and swirling interplay with the organ) and a 'grand finale' with emotionals vocals, slow synthesizer flights and adventurous drumming and finally the three-piece composition View From The Castle (more than 20 minutes) that features Negua at their best, from biting guitar and sumptuous parts to tender piano, flashy synthesizer and twanging guitar with soaring keyboards. The vocals contain a slight accent but the emotional overtones match perfectly with the dynamic music. The entire running time of one hour I have enjoyed Negua their fresh and modern blend of melodic rock (evoking modern Rush), neo-prog (IQ and Marillion) and symphonic prog (Genesis), this is a very promising band that has a lot to offer for progheads! 
Review by " erik neuteboom" (Prog Archives).

RATING:  7.5 / 10

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*. Prognózis .*

Album: Előjelek (1984)
Genre: Prog Rock (Pop/Soft Prog/Neo)  /  Hungary

Songs / Tracks Listing
01.Előjelek (03:19)
02.Kőhegyek (02:46)
03.Az abszolút balszerencse dala (03:25)
04.Háromszögek (04:02)
05.Szóbeszéd (02:49)
06.Hajtóvadászat (03:29)
07.Mindenki bolond (03:51)
08.Korántsem végleges téma (01:05)
09.A siker kézről kézre jár (02:29)
10.Ajtók előtt (05:05)
11.A Workinson-ügy (02:37)
12.Hajsza közben (04:17)

RATING:  7 / 10

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terça-feira, 28 de agosto de 2012

*. Kaipa .*

Album: Vittjar (2012)
Genre: Prog Rock (Symphonic Prog/Folk)  /  Sweden

While many bands pertain to blending genres, eras and styles, few really do it well. One such example of a band capable of expertly doing just that is the Swedeish progressive act Kaipa, who over their long history have taken a progressive framework and weaved traditional Scandinavian folk music, baroque motifs and unusual instrumentation into remarkably captivating and cohesive music. Even more impressively the mixture of sounds never come across as contrived or twee, instead proving that those involved are blurring genre boundaries because they love the music they are making and the influences that we hear here on Vittjar. If you've never experienced the beautiful organic sounds of Kaipa, there's still a good chance that you'll know at least one or two of the protagonists, with Per Nilsson of Scar Symmetry providing guitars, Jonas Reingold of The Flower Kings bringing bass, Morgan Agren of Mats & Morgan playing drums and Patrik Lundstrom from Ritual providing one of the voices that embellishes the wonderful music. Rounding out the band is the stunning voice of Aleena Gibson, and of course Kaipa mainman Hans Lundin who plays keyboards as well as adding a third voice to the mix. Those blending voices really are one of the most striking elements of the Kaipa sound, with the two male vocals counterpointing Aleena's beautiful soaring tones superbly. Also impressive is that rather than shove the different voices in your face at every available opportunity, each vocalist is allowed time to shine, with long solo sections being embellished by counterpoint backing vocals and the occasional joining of all three. The overriding vibe of Vittjar is one of laid back and gentle moods, but in truth a lot of that arrives through the comfort in which the music sits, with assured performances making even the harder hitting sections, of which there are a few, flow in an impressively relaxing style. That's not to say that everything on show meanders, or feels less than vital, as nothing could be further from the truth, with the over 22 minute "Our Silent Ballroom Band" soothing and stinging in equal measure, whether it be through strings, guitars, or more traditional instrumentation. The songs itself is an absolute triumph, with it given the time to truly ebb and flow from measured acoustic passages to full on guitar assaults and keyboard chaos. All this via sumptuous, varied vocal attacks. However the real masterstroke comes in following up that monster of a song with the short violin and Swedish lyric of the title track, spinning the mood of the album on its head, without ever feeling forced, or over analysed. That said, there aren't any dips in quality across the whole album and while in places things do sometimes take just ever so slightly too long to get to the point, you really can dip into Vittjar at any point and be truly captured by the majesty and skill on show and the breadth of the ideas illustrated at ever twisting turn. Review by "Steven Reid" (www.seaoftranquility.org).

RATING:  8.25 / 10

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*. Andrej Bogoslovskij (Андрей Богословский) .* (Reissue)

Album: Alye Parusa (Алые паруса) (1976)(Reissue 2006)
Genre: Prog Rock (Symphonic/ Rock Opera)  /  Russia

Songs / Tracks Listing
01.Увертюра
02.Пролог - У ручья. Сцена Ассоль и Сказочника
03.Картина I. Проводы Грэя
04.Картина II. Накануне. Сцена Ассоль и Грэя
05.Картина III. В трактире
06.Картина IV. Покупка шелка
07.Картина V. На корабле
08.Картина VI. На городской площади
09.Эпилог

RATING:  7.75 / 10

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*. Langsyne .* (Remaster 2012 + Bonus)

Album: Lang'syne (1976)(Remaster 2012 + 15 Bonus)
Genre: Prog Rock (Prog Folk/Psychedelic Folk)  /  Germany

This album is a validation of the notion that less can, indeed, be more. Recorded in 1976, just as the progressive rock era had passed its peak, it never got the attention it should have earned from fans of Amazing Blondel, the Strawbs, Jethro Tull, or Fairport Convention. The quietly, elegantly harmonized vocals and interlocked acoustic guitars that run throughout this record, ornamented with some flute, banjo, koto, and sitar, among other instruments, are not only hauntingly beautiful but memorable in a way that many louder bands never quite achieved. The lyricism just pours out of the performances and the music, and this trio laces its folk preferences with elements of Orientalism and other exotic attributes. Listening to this record (which was re-released on CD in the 1990s) today, while luxuriating in the music, one must get past the sad thought that this group never cut another album. If there was ever one failed prog rock group that deserved better, this was it. Review by "Bruce Eder" (www.allmusic.com).

RATING:  8 / 10

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segunda-feira, 27 de agosto de 2012

*. Cristiano Roversi .*

Album: AntiQua (2012)
Genre: Prog Rock (Folk/Ambient/New Age)  /  Italy

Cristiano Roversi is an Italian musician, composer and producer. Keyboard and organ player, bass and Chapman Grand Stick player and, in 1994, founder member of the new progressive band Moongarden, very much a vital entity to this day. Over the years he has explored other musical environments in collaborative projects such as Submarine Silence and Cavalli Cocchi, Lanzetti & Roversi as well as numerous solo projects, soundtracks and session/production/teaching work. Currently writing and playing keyboards for Mangala Vallis and producing Catafalchi Del Cyber, Cristiano has, in recent years, collaborated with many well known and respected names such as Bernardo Lanzetti, Aldo Tagliapietra, John Wetton, David Jackson, Massimo Zamboni, Flaco Biondini, Steve Hackett, Tryptic, Zef Noise & Mike Ill (ex Sweet Lizard Illtet), Silvia Orlandi, Angela Baraldi, Leonora, Roberto Tiranti and many others... About AntiQua: "I had wanted to dedicate myself completely to a solo album for some time now, totally free to go where I might, independent of market or stylistic pressures. A proverbial flight of fancy as it were. An album in which I could let my influences shine through without having to prove anything to anyone and one in which I didn’t have to crank up the volume. AntiQua is a strange land where time flows at a more natural pace, I don't really know if it's on our planet, or even if it exists in the past, present or future, near or far... AntiQua manifests when we need it, every time we give in to dreams and forget about the daily grind. It is a goblet of wine in a candlelit tavern. It certainly did me a world of good, a brief trip to land governed by antique ideals of beauty and harmony. I hope it may accompany the quietest and sweetest moments of your existence as it has mine." - "Cristiano Roversi" (www.progressiveworld.net)

RATING:  7.5 / 10

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*. Solaris Fusion (Nostradamus) .*

Album: Mystica (2007)(Single)
Genre: Symphonic Prog (Psychedelic)  /  Hungary

Songs / Tracks Listing
01.Mystica (4:10)
02.Secret of Mahagma (5:14)

Line-up / Musicians
Vali Barcsik / keyboards
György Bartha / flute
László Gömör / drums
András Káptalan / guitar
Tamás Pócs / bass

RATING:  7.75 / 10

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*. Psí Vojáci .*

Album: Těžko říct (2003)
Genre: Eclectic Prog (Art Rock/Exp./Piano Rock/Jazz)  /  Czech Republic

Tezko Rict (which translates to "Hard to Tell") is a very strong album, Psí Vojáci's best at least since 1999's Mysi v Poli. Filip Topol is once again witty, ferocious at the piano (he doesn't play the piano, he fights it), his singing mysterious, and resolutely off-beat, as always. Still accompanied by his trusty rhythm section of Ludek Horky and David Skála, he delivers an addictive batch of songs. The writing is less pompous than on previous albums, less overtly "classical." Tracks like "Napsal Jsem Písen," "Kabátky Deravy," and the title track deserve to have a place in the group's live set; they have all the right elements in the right places: strong delivery, massive chords, and unexpected twists. Jan Hazuka contributes a bit of Spanish guitar, Michal Gera puts in a touch or two of trumpet and flugelhorn, and Tomas Schilla's cello is put to good use, but for the most part, Tezko Rict is a trio affair. After 25 years of active life, we don't ask Psí Vojáci to surprise us, only to stick to strong songwriting, but this album still packs two nice surprises. The first one is "Musantet," a quirky half-Czech, half-French song. The second is "Jezura" ("Anteater"), an 18-minute epic, more like a tone poem. Just a bit overlong, it nonetheless features some excellent jamming from the musicians, including creative bass playing from Horky, and relentless chord rolling from Topol. After the lukewarm U Sousedu Vyje Pes, and the downright disappointing Slecna Kristyna, it's good to hear this enduring group back in top creative shape. Review by "François Couture" (www.allmusic.com).

RATING:  7.5 / 10

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*. The Chant .*

Album: A Healing Place (2012)
Genre: Prog Rock (Atmospheric/Gothic/Post Metal)  /  Finland

“A Healing Place” adroitly straddles the No Man’s Land between rock and metal. As with earlier releases, The Chant’s core sound remains close to the alternative rock of A Perfect Circle, Breaking Benjamin and Chevelle with a few twists from the heavier end of the spectrum, including screamed backing vocals, extended song durations and the occasional dalliance with dense, chugging riffs. However, the new record sees the band revisit previously fringe influences, most notably gothic metal and shoegaze, to great effect. Fans of post-doom/death Katatonia and Anathema will find much to enjoy here. In the two years they’ve been away, The Chant have developed significantly as musicians and songwriters; “A Healing Place” feels like their most cohesive and complete album yet. Singer Ilpo Paasela’s vocal performance is a considerable step up from “This Is The World We Know”, where he was prone to trip over English language lyrics and sound out of breath. Here he is channelling the spirit of both Tool’s Maynard James Keenan and Katatonia’s Jonas Renkse and sounds so much the better for it. Elsewhere, drums and bass lock together more tightly than ever before while keyboards and guitars lay down more tightly crafted and intricate arrangements amidst the atmospheric wall of sound. Production is also greatly improved. The band recorded most of the instruments themselves before drafting in the professionals for the drum tracking, mixing and mastering. As a result, “A Healing Place” sounds organic and atmospheric but also very tight and polished, without ever feeling overproduced. These changes are most evident on “Distant Drums”, an expertly crafted six and a half minute roller coaster ride that moves from slow melancholic build-up to cathartic release and is quite possibly the album’s highlight. “Ocean Sparks” is similarly outstanding, although much more straightforward in its delivery. Unfortunately, there are a few niggles that hold “A Healing Place” back from true greatness. Entirely unnecessary saxophone solos add nothing to “Outlines” and “Distant Drums” and should have been left on the cutting room floor. Other tracks simply go on too long or peter out unexpectedly. “The Black Corner” spends eight minutes fleshing out a very catchy main hook into an undulating beast of a song before throwing it away at the last by failing to deliver the coup de grace after one final climactic build up. It feels like a waste but considering the vast improvement over “This Is The World We Know”, it’s perhaps a little unfair to pull the band up on this when they have gotten so much else right. “A Healing Place” is the sound of a band finally hitting their stride. While not perfect, it’s nevertheless a highly accomplished album; instantly gratifying yet with enough depth that you’ll find yourself listening to it again and again. The Chant have waited thirteen long years to break out to an international audience and it would be verging on criminal if “A Healing Place” isn’t the record that allows them to achieve this at last. Review by "Jodi Mullen" (www.thisisnotascene.com).

RATING:  7.75 / 10

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domingo, 26 de agosto de 2012

*. Judgement Day .*

Album: Polar Shift (2012)
Genre: Prog Rock (Prog Metal/Instrumental/Exp.)  /  USA

There comes a time in every reviewer’s life when he/she realizes the grade given to a particular album will, in essence, be the maximum score for any album of that same genre. This is assuaged somewhat by the fact that said genre will most likely be so esoteric the threat of similar-sounding albums diminishes rapidly. But such remains the conundrum with Judgement Day, who have assumed upon themselves the wonderfully/woefully niche style of “string metal.” The band formed in Oakland, CA in 2002, when brothers Anton and Lewis Patzner began busking on street corners with violin and cello covers of metal songs, and soon began selling CDs. Their latest album, Polar Shift will be released July 31 through Minus Head Records. As per the band’s core sound, every track on the album is an instrumental, limited precisely to one violin, one cello, and drums. Scoff as you may, Judgement Day does more with this setup than other bands do with an entire orchestra-wide circle jerk. But, despite these achievements, the listener is still left wishing the band would branch out a bit more. Maybe some vocals here, guitar there, keyboard scattered about. Nothing too fancy. The problem is less with the band and more with the constraining nature of the medium they’ve taken upon themselves. The use of the term “metal” in Judgement Day’s self-described subgenre may confuse some readers. The fact is, one should expect less demonic shrieks and more finely-attuned melodic variations tracing a path through a surprisingly large array of musical influences. All three members are recognizably accomplished musicians (we took particular note of the drummer, Jon Bush, whose rapturous rhythms counterpoint the string arrangements perfectly, though also leave one questioning whether this is the best outlet for his skills). More importantly, they’re also quality composers, more concerned with crafting intricate melodies than simply masturbating their respective instruments. The opening track, “Ghost Hunt,” sets the tone for the rest of the album—the violin and cello interweave with each other in a way that is somehow both harmonious and combative, all over a furious tempo set by the powerful yet controlled percussion. But the best of the album comes in a cluster of tracks six, seven, and eight. “The Jump” opens with the unique drumming patterns of Mr. Bush, while the strings develop a riff that subsequently evolves into modulations and more complex melodic patterns over an increasingly-explosive tempo. “Redneck Rumble,” as per the title, introduces elements of bluegrass into the album’s sound, yet maintains the same degree of aggressive yet controlled modulations. The eighth track, “The Treachery of Kyodai Ken,” shows off Judgement Day’s versatility across one song. The track opens with a rather epic tempo and dark, nigh-fantastical string work. However, the music suddenly drops into a slow, isolated melody crying against the sudden silence. The pace quickens again soon after, and the listener is treated to this back and forth between two poles until the track comes to an abrupt conclusion. And yet, even in light of these powerful moments, by the end of the album, listeners will likely find it difficult to forget they’ve been listening to the same three instruments over and over again. By the final track, tediousness remains, and individual merits of individual songs begin to blend together in light of these insurmountable musical limits. Which returns us to the central thesis of this review. Polar Shift is about as good as an album of the nature could possibly be—the nature itself proves to be the problem. The album’s appeal is as limited and precise as the subgenre itself. Regardless of the band’s best efforts, those who weren’t violin nerds in middle school most likely won’t find this album a sufficient reason to start looking into “string metal” with any interest. The members of Judgement Day are obviously talented, and this will be clear to most listeners regardless of musical prejudices. But the addendum coupled with this recognition will be “I hope they branch out a bit,” and not “I hope they keep doing this exact same thing for their rest of their career.” Review by "Steve Hanson" (http://inyourspeakers.com).

RATING:  6.25 / 10

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*. Pandora's Box (P. Box) .* (Reissue 2 Albums 1 CD)

Album: P. Box (1981) & Kő Kövön (1983) (Reissue 1999)
Genre: Hard Rock (Prog Rock)  /  Hungary

Songs / Tracks Listing
01.Masnak Szol
02.Egerszerenad
03.Ejfeli Szeker
04.Dodole
05.Holgyvalasz
06.Szupergep
07.A Level
08.Nekem Ne Mondd
09.A Bolond
10.Soha Nem Eleg
11.Ingajarat
12.Maradj A Vonalban
13.Fantom-Lany
14.Valami Rock And Roll
15.A Zold, A Bibor Es A Fekete
16.Engedj!
17.Az Ideges
18.Vagtass Velem

Line-up / Musicians
Bencsik János / Guitar
Cserháti István / Keyboards
Sáfár József / Bass
Szabó István / Drums
Varga Miklós / Vocals on [1]-[9]
Vikidál Gyula / Vocals on [6], [10]-[18]
Jenei Sziveszter / Guitar on [7]
Vincze Tamás / Percussion on [4]
Lippényi Gábor / Moog

RATING:  7.75 / 10

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*. Panta Rhei .*

Album: Panta Rhei (1980)
Genre: Prog Rock (Symphonic Prog)  /  Hungary

Played in Hungary, from 1974 to 1982, in various styles, from jazz to progressive rock. They also designed and built their own synthesizers. Later they continued recording as P.R.Computer. Panta Rhei were well known in Hungary for their classical adaptations (in particular from Bela Bartok and Edward Grieg) and their instrumental compositions. Their music was heavily influenced by ELP, Nice, King Crimson, etc. The band recorded 2 LPs, and about 6 singles, and numerous pieces for film and ballet. Their LPs sold over 100,000 copies in Hungary and Eastern Europe. A CD of some of the previously unpublished music was released in 1998. In 2002 a book about the band was published, accompanied by a CD with a collection of songs recorded between 1975-79. Their Bartok recordings were never released, due to objections by the Bartok family.
* The first LP of the group. The recording company was reluctant to issue an instrumental LP. The group stopped playing live shortly after this recording. Drums: Andras Schmitt, Vocals: Andras Laar. Recording engineer: Istvan Sipos. The LP sold about 30,000 copies. (www.sdss.jhu.edu)

RATING:  7.5 / 10

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*. Kormorán .*

Album: Vadkert Fehérben (2012)
Genre: Prog Folk (Hungarian Folk/Medieval/Symphonic)  /  Hungary

Songs / Tracks Listing
01.Vadkert fehérben (4:54)
02.Egyszer egy ember (4:01)
03.Vissza (4:36)
04.Van egy kicsiny kunyhó (4:45)
05.Ne menj el (6:50)
06.Nézz szemembe (5:21)
07.Ne hajtsd messze a ménest! (4:43)
08.Nóra tánca (3:10)
09.Úgy hiszem (4:35)
10.Egy madár (2:54)
11.Lesz egyszer (4:47)
12.Elölről kell kezdeni (4:18)
13.Üzenet in memoriam W.A. (1:57)
14.Ide valami kéne (2:17)

Line-up / Musicians
Gergely Koltay / flutes, Turkish pipe, backing vocals
Nóra Fehér / vocals
Imre Vadkerti / vocals
Arnold Antoni / guitars
Álmos Gáspár / violin
István Szűts / keyboards
Tamás Zsoldos / bass
Sándor Herpai / drums

RATING:  7.75 / 10

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sábado, 25 de agosto de 2012

*. William Gray .*

Album: Silentio (2012)
Genre: Prog Rock (Symphonic/Crossover)  /  Argentina

The music is a very alternating and captivating blend of different styles, from compelling and bombastic with some progmetal climates (evoking AYREON), powerful Hammond runs and fiery guitar to mellow pieces with classical piano and violin, impressive church-organ intro's or folky oriented songs with acoustic guitar and warm English vocals, what a splendid musical adventure! (Prog Archives)

Songs / Tracks Listing
01.Prelude / 02.Crisis / 03.The Gift / 04.Medicine / 05.La Burla / 06.Precious / 07.The Sorcerer / 08.Type Machinae / 09.Auditorium / 10.Dumb / 11.Cursed / 12.The Betrayal / 13.The Search

RATING:  7.5 / 10

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*. Futurum .* (Reissue + Bonus)

Album: Ostrov Země & Jedinečná Šance (1984/1987)(Reissue 2005)
Genre: Prog Rock (Crossover/Neo/Pop)  /  Czech Republic

Songs / Tracks Listing - Ostrov Země (1984)
01.Juliet
02.Po kapkách
03.Superměsto
04.Zóny lidí
05.Spěch
06.Vyplouvám I
07.Ostrov země
08.Kámen tvář
09.Sluneční město
10.Stopy
11.Hledání
12.Oblouk
13.Vyplouvám II
14.Genese
15.Juliet (live)
16.Oblouk (live)

Songs / Tracks Listing - Jedinečná Šance (1987)
01.Soumrak
02.Klaun
03.Hry
04.Jedinečná šance
05.Standa
06.Nekonečná
07.Filmy dnů
08.Voda
09.Zdroj
10.Moře, ty a nebe
11.Je čas
12.Tak jak
13.Svět kouře
14.Střílej (live)
15.Zdroj (live)

RATING:  7.5 / 10

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*. Barbaro .*

Album: Barbaro III (2007)
Genre: Prog Rock (Eclectic/Exp./Crossover/Metal)  /  Hungary

It's been a long, long time since I was this excited by any band being admitted to PA. Yep, the lure of Eastern European folk music, visceral rock and a refreshingly spiky irreverence for all things with a 'fresh lemony smell', Barbaro just had to flick the switch to have me fluttering like a delusional moth pretending to volunteer for the fire service. If you can imagine Tom Verlaine and Robert Fripp cast as disaffected Hungarian youths, eager to exploit their indigenous musical heritage out-with the yawning orifices of academica and the exotic trifles of slumming intelligentsia, there is much that will resonate within you when untapped by this unerringly spiffy album. Originality is damned elusive to describe as we are forever trapped in metaphor i.e. we can only describe any phenomenon by comparing it to another. So I admit defeat, let's try Pere Ubu, Josef K, Crimson, Chou Pahrot (who? ask Easy Livin) Television, shed loads of feisty attitude and erm....Bartok (from whom they took their name re the latter's Allegro Barbaro). It is unnerving to hear what is to all intents and purposes, a guitar band couch their music in the dialect and articulation of the Balkans with the disarming honesty, transparency and muscular pride that Barbaro do here. This is NOT ethno rawk, Budapest boogie or Chuck Berry in billowing Magyar pants. This is rock music freed from the shackles of imitation, hot chicks in Cadillacs and pubescent leather upholstered cramps via the CIA funded RFE's 'they'll never understand' 24/7 transmissions. The twin guitars here collide, cuddle, squabble, embrace, shriek, caress, spit and chime with a restless pugnacity that is exhilarating to behold and impossible to resist. You can hear flesh pressed against protesting metal, drum skins stretch in futile retreat, a singer breathing, the air moving, valves glowing, the analogue needles ramping: the neck hairs stir and the closest thing we dare still call magic begins. Electricity, wires, pregnant space, sinews, tendons, flexed muscles, the tactile and the visceral: blood rises and Stasis is the only acknowledged crime in this new yet spookily familiar neighbourhood. (Keep your pet sounds indoors). All of us can imitate say, an American accent with insouciant and unwitting comic ease, but an innate immersion in syntax is a prerequisite of any native speaker. Ergo, Barbaro do not sprinkle their indigenous culture into their art as a spicy piquance to appease those earnest ethno-musicologists who suffocate, label, catalogue and exhibit their mummified paramour in a museum. By way of contrast, this is what rock and roll was supposed to evolve into when we fooled ourselves into thinking the globalisation of the counter culture would resist the trade winds of marketing. Like their fellow countryman and inspiration Bela Bartok, Barbaro do not dress peasant melodies in contemporary alien apparel, they construct and fashion new music using the modes, scales and rhythms from that source as effortlessly as Macedonian children sing and dance their playground skipping rhymes in 22/16. The abiding conceit that Prog is the preserve of 'difficult' or 'odd' meters is long passed being merely irritating: it's plain vanilla redundant. It's the phrase length that determines the time signature of any music and it really shouldn't require a quantum leap in anyone's thinking to deduce that just like good soccer refs, you really shouldn't notice they're there at all. Otherwise the effectiveness of their perceived natural 'musicality' is compromised. What's interesting for me about my favourite guitar bands (but please feel free to be bored s.h.i.t.less anyway) is that they utilise two guitars with a holistic bent i.e. the whole is greater than the sum of the separate parts. Verlaine/Lloyd from Television, Richards/Taylor from the Stones and Belew/Fripp from Crimson all exemplify this approach. They dispense with the strict chordal/lead allocation of roles and instead weave an accompaniment that implies the harmonies while allowing them recourse to the practically infinite possibilities of counter melody, extended chord voicings, timbral texture layering and counterpoint. So all well and good if ya dig blindingly fabby geetar instrumental malarkey but what about the toons, the hooks and those bits you can holler along to in the bath innit? Well wipe those tears from your visor proggernaut, as the song writing is sublime, inspired and given the building materials I alluded to earlier, commensurately innovative and unconventional. So there ain't a single baby clanger on the event horizon. Special mention has to be made of one Miklos Both whose velvet tonsilry adorns this album. (He also plays and sings in another excellent Hungarian band called 'Napra' who are a tad more traditional and lighter/poppier in orientation but well worth checking out) Although I have absolutely no idea what he is singing about he emotes with a plaintive urgency shorn of all evident artifice and has a textural and dynamic range that suits the material perfectly (wouldn't it be hideously ironic if the whole undertaking was really about elves on magic mushrooms, coma inducing spliff, biker babes and ancient oriental mystic pish? I'd never live that one down) Let's also not forget my routine and ingrained pickyness about the bane of many a rock album: overly compressed drum kit sounds by clearly 'chipped off their tits' engineers as a first lazy resort to getting the kit audible above the crunchy guitars and bass. Sandor Herpai gets an unqualified thumbs up (Do rodents have thumbs?) for both his thrilling playing and the wide range of dynamics captured on this sumptuous recording. In other words you get the light and shade normally found on acoustic jazz sessions but with the energy of a rock thumper (albeit a very good and sympathetic 'musical' one, no offence intended Mr Herpaj). Review by "ExittheLemming" (Prog Archives).

RATING:  8.25 / 10  **GREAT**

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*. Extra Ball .*

Album: Mosquito (1981)
Genre: Jazz Rock Fusion (Prog Rock)  /  Poland

Songs / Tracks Listing
01.Mosquito
02.Miles
03.Bąbelki
04.El Carrito
05.Krąg Wspomnień
06.Czasem w Zimie
07.Duża Żaba

Line-up / Musicians
Jarosław Śmietana / electric and acoustic guitars
Adam Kawończyk / trumpet
Robert Obcowski / piano acoustic
Antoni Dębski / bass
Jacek Palec / drums, percussion, marimba
Jan Ptaszyn Wróblewski / saxophone (Tr.4, 6, 7)
Czesław Mały Bartkowski / drums (Tr.2)
Wojciech Groborz / piano (Tr.2)
R. Obcowskiego & Jan Budziaszek / drums

RATING:  7.5 / 10

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sexta-feira, 24 de agosto de 2012

*. Six Organs Of Admittance .*

Album: Ascent (2012)
Genre: Prog Rock (Psychedelic Rock/Psych. Folk)  /  USA

Ben Chasny is one of those dudes that you can’t picture without a guitar in his hands. Whether he’s ripping apart a roaring electric solo or strumming out a fireside drone, the notes seem to ripple out of his fingers organically. Chasny uses that natural power to propel a handful of projects, most notably the noisy psychedelia of Comets on Fire and droning folk outfit Six Organs of Admittance. Now that the former has been on hiatus for about four years, Ascent proves that he can fit those electric riffs in seamlessly with the latter’s ritual depth. While Chasny’s recent work under the Six Organs heading has tended towards introspective, isolated territory, to say that Ascent is entirely new territory would be misleading. He’s never been afraid to take listeners out of their woodsy comfort zones and challenge them with bursts of feedback or endless ripples of mantra-like themes. Tracks like “Even if You Knew”, however, take their raga single-mindedness from a new place, relying on continuously spiraling guitar solos and shuddering rhythms. There’s something almost Doors-y to the track, with Chasny’s mystic lyricism now couched in more familiar tropes. Nothing quite matches the burning garage intensity of opener “Waswasa”, a five-minute guitar solo with occasional breaks for haunted vocals. “Your Ghost” proves that Chasny isn’t turning his back on the tender stuff, either. “I was your friend, I was your light, I was your ghost,” he coos over a descending staircase of chords. “They Called You Near” similarly relies on the acoustic, a trilling, Eastern guitar riff anchoring a wafting pulse. The unifying factors between these glimpses of the recent Six Organs of Admittance past and the Comets on Fire-leaning electric guitar riffage is the primacy of the guitar, a compelling core. Even when Chasny closes out the album a little silly with “Visions (From Io)” — intently whispering lines like “satanic rockets have launched” — the starlit scrawls of guitar make the entire thing fall into place. The track combines lilting elegance and fret-burning fervor, transporting the listener to a new plane where guitars ring free — much like Ascent as a whole. Review by "Adam Kivel" (http://consequenceofsound.net).

RATING:  7.75 / 10

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*. Kolinda .*

Album: Szerelem 1977-1997 (1997)(Compilation)
Genre: Prog Folk (Hungarian Folk/Contemporary Folk)  /  Hungary

Regarded as the renovator of Hungarian music in the seventies and eighties, Kolinda draws its name from a style of songs sung in procession, at Christmas time, by the children in search of offerings in the villages. It is at the Institute of Popular Studies of Budapest that the members of Kolinda discovered the work done on the country music at the beginning of the twentieth century by the composers Bartok and Kodaly. If those never sought to play this agrarian music, Kolinda has on the other hand brought it downtown and worked over again to revivify it. The band even collected itself in Hungary, but also in Bulgaria and Romania. While being based on the traditional music, Kolinda does not seek to reproduce a falsified folklore. Responsible for history and imagination, Kolinda creates an oneiric universe, associating country songs and asymmetrical rhythms, jazz improvisations and personal compositions illustrated by texts borrowed from contemporary Hungarian poets. Their instruments come from Balkans, of Iran, of North Africa and Turkey. Kolinda diverts them of their usual function, uses them as symbols and mingles them with modern instruments. Dissolved in 1979, Kolinda was reformed two years later on the initiative of Peter Dabasi, while joining the Makam group first of all. Since 1984, Kolinda has been playing again under its only name and has published several discs, mainly composed by Peter Dabasi. In 1996 appears the album Osz, testifying to the course carried out by the three founding members of Kolinda (Agnès Zsigmondi, Ivan Lantos et Peter Dabasi) since their separation. It offers several old deeply worked over again pieces, as well as new compositions. Since this reformation has remained without a future, Peter Dabasi has took again the musical direction of the group which is still alive today. (www.ivanlantos.com)

RATING:  8.25 / 10

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*. Karthago .*

Album: Requiem (1983)
Genre: Hard Rock (Prog Rock)  /  Hungary

Songs / Tracks Listing
01.Requiem
02.Girls from Nowhere
03.It Ain't the Fire
04.The Thousand Years To Come
05.Knock On Your Door
06.Gold
07.Tme Is Not On Your Side
08.Lay Down

Line-up / Musicians
Tamas Takats / vocals
Zoltan Kiss / bass, vocals
Ferenc Szigeti / guitars, vocals
Attila Gidofalvy / keyboards, vocals
Miklos Kocsandi / drums

RATING:  7.75 / 10

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*. Threshold .*

Album: March of Progress (2012)
Genre: Progressive Metal  /  UK

Threshold's latest release is very much a mature and inspired work of art, which brings finely balanced and well arranged songs. The intriguingly dark atmosphere is but enhanced by the out of this world timbre of Damian Wilson, where each note is in perfect harmony with the weeping quality of his voice. As expected the whole package is relying on crisp, innovative production and rich full sound. Ashes is a proud opener, marking the band's full on comeback. It's woven through with such uplifting melodies and bountiful energy, just a marriage of harmonies and rhythm. Return of the Thought Police bears a deep moody tone, with a climactic build-up in the chorus. The vocals' clean and ethereal properties draw you in, softly leading the dance. Simple melodic ingenuity is just incomparable. The shortest song Staring at the Sun plays contrast between bleak verse and full textured chorus, where the instruments sing in unison. The title Liberty, Complacency, Dependency explains itself lyrically, whilst musically is a reminiscent of the band's early albums. What's so intellectual about it is the multi-layered nature of the song. It's abundant in complex details and is simply brimming with the original vibrations that Damian's voice resonates with. A beautiful atmospheric solo crowns the middle section. Colophon is yet another prog gem ? a gripping intro builds up concisely into almost a music score with a military theme. Shades of both slow and up-tempo beats expose the complexity of Damian's full range, with the momentum that keeps expanding and the guitar solo attack at the end. Inner struggle dominates The Hours, carefully structured and dramatic piece that opens up into an embracing chorus. Unexpectedly different and intimate vocals in the slow section unveil the underlying tension. That's Why We Came has its origins in the acoustic Pink Floyd sound, with the majestic high notes that consume you, whereas the character of Don't Look Down is more of a catchy one, but balanced out by the rock elements and a phenomenal instrumental section. Slightly unusual and surprisingly addictive Coda starts off with the early 90's metal riff, followed by the late 80's pop keyboards, to be blended in nicely by its guitar solo with the recognizable Threshold style. If there ever has been a song written to glorify a single musical segment this one had certainly given such an event a completely new meaning. Epic, yet personal, The Rubicon is a story of Threshold, of doubts and achievements, future and past. The poignant outro never fails to leave me untouched ? emotionally heavy organ, combined with the most outstanding backing vocals in the answering phrases and topped with the soaring vocal lines that are framed by the semantically opposing verses. The big and passionate solo sadly brings the album to a close. Bonus track Divinity has got a hint of quirkiness and melancholy, followed by a bittersweet feeling in its coda, by which this colourful repertoire is concluded. Combining power and melody on such unique level, Threshold have once again proved their worth on the world's progressive scene. Thought provoking, their music is driven to stir individual emotions by embodying universally profound values in its artistic form. Moreover, March of Progress has got a dynamic flow and fresh approach to the songwriting, showing off another dimension to this talented band. It's an album of pure genius and I just cannot fault it. (Prog Archives).

RATING:  8.75 / 10  **GREAT**

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*. CMU (Contemporary Music Unit) .* (Remaster)

Album: Open Spaces (1971)(Remaster 2008)
Genre: Prog Rock (Folk/Blues/Jazz)  /  UK

1st album by the excellent British Prog band CMU (Contemporary Music Unit), founded by drummer Roger Odell and fronted by his wife Larraine Odell, a superb vocalist. The sextet also included bassist Ed Lee, guitarist Ian Hamlett, keyboardist Terry Mortimer and drummer James Gordon. They played a highly ambitious blend of Rock / Folk / Jazz, with sophisticated compositions and complex arrangements, and although mostly completely unheard of, were one of the most intriguing bands at the time. Strongly rooted in Jazz, the band members were all excellent instrumentalists and the female lead vocals set them apart from most of their contemporaries. They were sometimes compared to the band Affinity, which was also fronted by a wonderful female singer Linda Hoyle and had a similar Jazz background. Unfortunately this original lineup of the group fell apart shortly after this album was released, to reformed later on and record one more album. This little known gem is a must to any serious Prog and early British Jazz-Rock enthusiast. Review by "Jazzis" (Rate Your Music).

RATING:  7.75 / 10

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quinta-feira, 23 de agosto de 2012

*. Kormorán .*

Album: Istenem Magyar Volt, Szóljon Aki Látta (2004)
Genre: Prog Folk (Hungarian Folk/Medieval/Symphonic)  /  Hungary

Songs / Tracks Listing
01.Húzd a harangot
02.Adjon az Isten
03.Ne sírj
04.Gyere ki te gyöngyvirág
05.Három határ
06.1920 / Volt apám, volt anyám
07.Magyar rapszódia
08.Három harang
09.Kedvesem
10.Kurán Gergő balladája
11.Ki szívét osztja szét
12.Magyar golgota
13.Táltosok fiai
14.A csend partján
15.Szóljon aki látta
16.Kell még egy szó

Line-up / Musicians
Gergely Koltay / flute, Turkish pipe, backing vocals
Erika Géczi / lead and backing vocals, acoustic guitar
Renáta Tóth / lead and backing vocals
Mr. Basary / lead and backing vocals
Álmos Gáspár / violin
Miklós Szabó / guitar
István Szűts / keyboards
Tamás Zsoldos / bass
László Nagy / drums

RATING:  8.25 / 10

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*. Rascal Reporters .*

Album:  (2008)
Genre: Prog Rock (Rio/Avant Prog/Jazz)  /  USA

"The mind boggles" - this album really has the correct title. To discribe everything what happens in this highly complex music is nearly impossible and would be an spirited attempt. For me it's the most creative sonic adventure by the unusual Michigan Duo Steve Gore and Steve Kretzmer and some guests. Comparisons? Yes... but a lot! Imagine Hatfield and the North, early Soft Machine, Henry Cow, U Totem, Bonzo Dog Doo-Dah Band, Zappa, The Residents and Brian Wilson (this list isn't nearly complete) had a secret meeting and wrote together emancipated overlapping compositions. And all that with a little help from some sea shanty fanatics, a western film music composer, some club jazzers, a musique concretist and a demented popstar. Because of that mix, during listening to this highly inventive album sometimes you could think the cd-player has some serious technical problems (especially in the piece "the mind boggles"). The in diverse musical styles overlapping structures are partly enriched with beautiful melodies and singing. More Comparisons? Maybe the best comparison for this beautiful and weird album is "somewhere between Rascal Reporters and Rascal Reporters". Review by "siriuspooka" (Rate Your Music).

RATING:  7.75 / 10

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*. Andre Matos .*

Album: The Turn of the Lights (2012)
Genre: Progressive Metal  /  Brazil

Songs / Tracks Listing
01.Liberty
02.Course Of Life
03.The Turn Of The LIghts
04.Gaza
05.Stop!
06.On Your Own
07.Unreplaceable
08.Oversoul
09.White Summit
10.Light-Years
11.Sometimes

Line-up / Musicians
Andre Matos / vocals
Hugo Mariutti / guitars
Andre Hernandes / guitars
Bruno Ladislau / bass
Rodrigo Silveira / drums

RATING:  8 / 10

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quarta-feira, 22 de agosto de 2012

*. Pavol Hammel .* (Reissue + Bonus)

Album: Faust a Margaréty (1980)(Reissue 1999 + 10 Bonus)
Genre: Prog Rock (Pop/Rock/Soft Prog)  /  Slovakia

Songs / Tracks Listing
01.Bez velkych slov 3:33
02.Pod 3:22
03.Je mi luto 3:30
04.V zapadnutom holicstve 2:59
05.Zberatel duchov 3:05
06.Chladna ako zmrzlinovy pohar 3:30
07.Resume 3:09
08.Ked pavuk svoje siete dotka 3:47
09.Tolerantna piesen 3:20
10.Tak si ma uvar a zjedz 2:45
11.Spominam 4:15
12.Faust a margarety 2:57
13.Cas 4:47
14.Zazracne topanky (bonus) 2:12
15.Pred skolou, za skolou (bonus) 2:15
16.Zasadime strom (bonus) 2:34
17.Lokomotiva (bonus) 2:49
18.Bublinka (bonus) 2:45
19.Mechy (bonus) 2:27
20.Obrazaren 2 (bonus) 2:34
21.Obrazaren 4 (bonus) 3:01
22.Obrazaren 6 (bonus) 3:27
23.Obrazaren 8 (bonus) 3:52

RATING:  7.25 / 10

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