quarta-feira, 31 de outubro de 2012

*. Jah Wobble .*

Album: Umbra Sumus (1998)
Genre: Progressive Electronic (Downtempo/Jazz/Pop)  /  UK

The strange, spiritual album that is Umbra Sumus is one of the more interesting items released in 1998. Bassist and composer Jah Wobble creates strangely compelling soundscapes that draw textures from a variety of ethnic traditions without explicitly evoking any one of them. The first cut, "Il Jevedro il Oblanco," sets the pace with a duet for what sounds like a toy music box and fuzz bass, but suddenly becomes a lush electronica-pop track as vocalist Amila Sulejmanovic begins singing in Bosnian. Elsewhere, Natacha Atlas croons in Arabic over a texture not of ouds and doumbeks, but of synthesized percussion, keyboards, and Wobble's own throbbing bass, and it sounds perfectly natural. "I Offer You Everything" blends reggae percussion, piano, and B.J. Cole's wonderful pedal steel guitar to create something that should have been a crossover pop hit. At times, Jah Wobble's music verges on art-jazz, at times electronica with melodic sound effects, and at times it is in territory that doesn't have a name because nobody else sounds quite like this. Whatever you call this music, it is interesting throughout. Though styles shift continuously, there isn't a dud track on Umbra Sumus, and it's a must-have for those who like intelligent and highly textured pop. The name of this album translates as "We Are Shadows," but many listeners will find that this music sheds welcome light on the possibilities of musical fusion. Review by "Richard Foss" (www.allmusic.com).

RATING:  7.25 / 10

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*. Touchstone .*

Album: Mad Hatters (2006)(Single 4 Track's)
Genre: Prog Rock (Heavy/Crossover Prog)  /  UK

Keyboardist/singer Rob Cottingham created this UK band in 2001 with a much different line-up than on their official releases.It featured Michael Daly on guitar, Mike Forrester on bass, Miriam Pugh on saxophone and Andrew Harman on drums.However it was in 2003 when things really turned the corner for Touchstone, when Rob met guitarist Adam Hodgson through an ad to find that they shared the same tastes around music.Writing material became a much easier experience since then and in 2006 the band self-released a 20-min. 4-track EP with a refreshed formation, featuring also bassist Paul Moorghen, female singer Liz Clayden and drummer Simon Cook. As the band's influences indicate, Touchstone tried to mix the prog aesthetics of bands like YES or PINK FLOYD with the catchy approach of ASIA and VAN HALEN.The result is pretty much along the influences' paths, memorable, quite melodic but also Hard Rockin' Progressive/Art-Rock with emphasis on easy-listening tunes, good vocals and balanced instrumentation.The first couple of tracks are good examples of the sound: Groovy and rich musicianship with flashy keyboard work, nice guitar solos and modern yet expressive vocals blended with a sense of melody between the heavier parts.''Hear Me'' follows more of a PINK FLOYD-ian mood.Low tempo composition with supporting background keys and nice GLIMOUR-ish guitars along with the best vocal work of this short album.The 8-min. ''The Mad Hatters' Song'' is another nice arrangement.Alternating male and female vocals with fantastic emotion throughout, smooth piano passages, heavy but pretty nice guitar work and a groovy catchy finale showcase a band with talent and capable of creating something great. A good introduction to the band's sound.Heavy Progressive/Art-Rock, memorable, well-crafted and intricate at moments, somewhat along the lines of SKY ARCHITECT and SUBSIGNAL. 
Review by "apps79" (Rate Your Music).

RATING:  7.5 / 10

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terça-feira, 30 de outubro de 2012

*. Koncz Zsuzsa .*

Album: Ki nevet a végén (2002)
Genre: Prog Folk (Singer/Acoustic Folk/Pop/Rock)  /  Hungary

Songs / Tracks Listing
01.Mennyi Hid Kell Még
02.Eladó Hÿz
03.Akció
04.Becsület , Rend
05.Talÿn Még Túl Fiatal
06.1990
07.Túl Nagy
08.Ki Nevet A Végén
09.Még Egy Tÿnc
10.Többé Nem Akarom
11.Legyen Úgy
12.Nyújtsd A Kezed
13.Tegnap Ér A Mÿhoz
14.Északi Fény

RATING:  7.75 / 10

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*. Absoluuttinen Nollapiste .*

Album: Pisara ja lammas 1 (2012)
Genre: Prog Rock (Eclectic/Symphonic/Crossover)  /  Finland

Songs / Tracks Listing
01.Alkusoitto (3:08)
02.Planeetta Hyvä (4:04)
03.Juhlija (3:30)
04.Nainen lentää (5:08)
05.Kohtaaminen (3:30)
06.Pisara (4:07)
07.Paimenen uni (4:34)
08.Lampolan aamu (2:30)
09.Lammas näkee naisen (2:09)
10.Lampaan etsintä (5:54)
11.Lammas saa vainun (2:52)

Line-up / Musicians
Aki Lääkkölä / guitars, synthesizers
Aake Otsala / bass, synthesizers, sound design
Tomi Krutsin / drums, percussion
Tommi Liimatta / vocals (narrator)
Guests:
Erkki Seppänen / vocals (Lammas)
Paula Vesala / vocals (Nainen)
Olavi Uusivirta / vocals (Paimen)
Lotta Savolainen, Emilia Norppa, Teemu Eskelinen, Tommi Liimatta / choir vocals

RATING:  ????????

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*. Woodland .*

Album: Seasons in Elfland: Shadows (2010)
Genre: Prog Folk (Pagan Folk/Acoustic/Symphonic)  /  Germany

This is a gorgeous album. It is lush and velvety like an ancient tapestry hung carefully in the vaults of ancient memory to guide the way with subtle symbolism towards those valuable treasures that lay hidden deep in ourselves in the dark places of our dreams. Seasons in Elfland is the first half of a two part release, THis is the Dark Half, and as such is more brooding and mist-shrouded than other more bubbly Woodland offerings on previous releases. As such this music is very healing, it goes to the deep and wounded places of the soul and heals them gently with a mother's touch and sweetly whispered words. But it's not gloomy, or ugly, ever. This is darkness in the sense of the deep ocean or deep roots, darkness where things might grow from and flourish , thanks to the sanctity of this special place. But it's not all tranquil reveries, songs like "Rose Red", "Fire in the Blood" and "Blood of the Moon" offer cheerful respite from the inward journeys offered by songs like "Golden Raven's Eye" and "Gates of Twilight." This is really a Cd to be listened to as a whole, as it really provides a cohesive journey for any magically spirited person. I can't recommend this album enough to anyone who wants a taste of REAL musical magic, reminiscent of ancient times, though given form in a modern fashion. There will be times in your life where this album is THE perfect album to be listening to, and in those times you will know that Woodland are true bards in the most sincere form. I truly love this album , more and more as time goes by. Listen with your heart and you will see! 
Review by "Crispy Crow" (www.amazon.com).

RATING:  8.25 / 10

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*. Peter Meze & Janc Galič .*

Album: Izza Oči (1983)
Genre: Prog Folk (Acoustic Folk/Singer/Songwriter)  /  Slovenia

Songs / Tracks Listing
01.Pesem
02.Mostovi
03.Trenutek vec
04.Stirje letni casi
05.Simfonija malodusja
06.Veceraj
07.V okrilje ceste
08.Poraz
09.Ob Ljubljanici
10.Cirkus
11.Strnisca

RATING:  7.5 / 10

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*. Geoff Tate (Queensryche) .*

Album: Kings & Thieves (2012)
Genre: Hard Rock (Melodic Rock)  /  Germany (USA)

Opening track ‘she slipped away’ sets the scene nicely, with Kelly Grey’s rippling guitars reminiscent of ‘Empire’-era Queensryche covering classic U2, and, having missed Kelly’s more bluesy interpretation of Queensryche tracks since he departed the band following ‘live evolution’, it’s good to hear the talented guitarist allowed the space to indulge in his art on many of the tracks here.  Aside from Kelly, Geoff has also employed fellow Seattle musician (and former Mother Love Bone member) Gregg Gilmore on drums, Chris Zukas on bass and long-time collaborator Randy Gane (with whom both Geoff and Kelly played in Myth) on keyboards. The band also features harmony vocals courtesy of Jason Ames and Emily Tate. Having impressed with ‘she slipped away’, its warm, driving rock a perfect reminder of Geoff’s skill as a beguiling and intimate front man, the band kick into the chunky groove of ‘take a bullet’ with its funky bass line and keyboard stabs adding depth to Kelly’s heavy, grinding guitars. Geoff, meanwhile, sounds like he’s having a good deal of fun with the vocals, his voice, clear, powerful and enthused throughout. ‘In the dirt’ has a slinky riff that grooves and swirls in the dust, the feeling once again being that this would be the perfect soundtrack to an open-topped ride through the sand-strewn highways of America, the music evocative of grand landscapes and open spaces even as each track is a short, contemporary stab of melodic hard rock rather than the more lengthy, progressive jams of Geoff’s day job. A great track with an immensely annoying title, ‘Say U luv it’ with its text-speak (and thus instantly aggravating) nomenclature is a slice of carefully constructed electronic-enhanced rock that comes off like a mix between alt-rock stalwarts Live and Nine inch Nails, whilst Geoff once again sounds like he’s enjoying the freedom to experiment with different styles and moods as the muse takes him. It seems highly likely that there will be Queensryche purists decrying the album, and this track, in particular, but the simple truth of the matter is that Geoff’s moved on from his early days of bombastic, progressive metal and, whilst his musical direction is certainly different, this is skilfully produced and passionately delivered mid-tempo rock raised one step above its competition thanks to its being delivered with great energy and enthusiasm by one of hard rock’s most enduring voices. ‘The way I roll’ opens with snatches of jazzy saxophone, played by Geoff himself, and a spoken word declaration that this is Geoff circa 2012 before Kelly’s guitar stabs and Gegg’s woozy tempos take the track once again in the direction of Live, recalling that band’s underrated ‘V’ album. The longest track on the album, ‘tomorrow’ marries up syncopated rhythms and a stripped-down approach that gives Geoff’s lyrics and vocals a chance to shine, although it is Kelly who damn near steals the show with a fluid guitar solo set to Eastern-influenced keyboards in the mid-section of the song. Having caught their breath, the band kick back into heavier pastures with the dark-hearted ‘evil’, Kelly employing the full power of the studio to craft a track that feels like a stark message to Geoff’s former band mates as he grinds out the lyric “Why don’t you say it to my face, you don’t move me, you don’t fool me, it doesn’t matter because what you give is what you get…” from between gritted teeth. It’s dark, dramatic, and utterly enthralling. Moving into the final third of the album, ‘dark money’ moves a distance away from the night-time horrors of ‘evil’ and back towards the pop-infused rock of ‘she slipped away’. Interestingly one influence that unexpectedly raises its head here is David Bowie, with Geoff’s band laying down a heavier version of Bowie’s ‘station to station’-period soundscapes. ‘Those glory days’ has a frighteningly addictive groove to it, the guitars dispatched with a bluesy feel over Gregg’s taut rhythms. Perhaps most unexpected is the synth-led ‘change’ which alters the whole feel of the album, coming on like a spiritual sequel to ‘silent lucidity’, the piano and orchestration giving way to one of Kelly’s best solos on the disc. It’s very different to anything else found here, and possibly the closest in feel to Queensryche even whilst not being in any sense metal. The album concludes with ‘waiting’, another track that slips away from the more contemporary vibe found elsewhere into a more eighties ballad-style that wouldn’t have sounded out of place on ‘Empire’. It seems odd that Geoff would save the two most traditional pieces for last, but with its brave, bluesy fills and funky bass lines underpinning it, it’s far from a simple exercise in nostalgia and one must remember that Geoff has been crafting music in this vein for half his life – old habits, it would seem  die hard. ‘Kings and thieves’ will do nothing to attract those fans who jumped from the Queensryche ship after ‘promised land’, nor, one feels, should it. Geoff is an artist whose integrity has always meant so much more than sales and he has always been explicit about his changing tastes and his desire to move his music in more experimental directions. For those fans who have enjoyed Geoff Tate’s varied output over the years (and there are many) this is Geoff renewing his contract with those faithful, showcasing the fact that he is far from lost without his former band mates. Keeping faith with Kelly Grey was an astute move, Kelly’s production work is second to none, and his guitar work on the album is also exemplary, his bluesy tone the perfect foil for Geoff’s warm, rich voice. Geoff himself, meanwhile, has excelled himself. Where his first solo album felt more like an opportunity to cut loose form the day job, this effort feels like the work of a consummate artist, comfortable with the form and style of his art and confident that this work is his best. Many people will judge this album without hearing a note; many more will write it off for not being heavy enough; but for those who enjoy varied, immaculately played and produced music, ‘Kings and thieves’ is a triumph that allows Geoff the chance to fully shine as the remarkable vocalist that he is. Crafted with the man’s customary lyrical intelligence and with nothing that could be called filler, ‘Kings and thieves’ is a melodic, hard rock triumph and hopefully signals a new fire burning at the heart of a man whose career has already taken more interesting turns than most. 
Review by "Phil" (www.sonicabuse.com).

RATING:  7 / 10

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segunda-feira, 29 de outubro de 2012

*. Shtourtsite (Щурците) .*

Album: Anthology Part 1: 1967-1977 (2004)(Compilation)
Genre: Hard Rock (Prog Rock/Beat)  /  Bulgaria

CD 1 : Щурците - Антология, часть 1 (1967-1977) (BOXSET)
CD 1 : Shtourtsite - Anthology, Part 1 (1967-1977) (BOXSET)

Songs / Tracks Listing
01. На прага
02. Говори се за нещо
03. Дай ми малко нежност
04. Звън
05. Изпращане
06. Веселина
07. Малкият светъл прозорец
08. Песен за щурците
09. Стар албум
10. С китара по света
11. И една звезда
12. Далечен залив
13. Дяволски сезон
14. Снежна приказка
15. Зората
16. Така било е
17. Ти не разбра
18. Песен за теб

RATING:  7.5 / 10

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*. Via Obscura .*

Album: Traum (2009)
Genre: Prog Rock (Gothic/Metal/Symphonic Prog)  /  Germany

Since I heard MIRANDA SEX GARDEN and DEAD CAN DANCE, I always pay special attention to bands labeled as Goth with classical influences, because I always believed that Goth is a close relative of Prog, so being that this is the case of VIA OBSCURA, bought their album Traum as soon as I was informed of it's existence..And was impressed. Their music is full of drama, enhanced by the powerful and operatic voice of Anne-S. Thinius, perfectly complemented by the amazing performance of the multi-instrumentalist Alexander Thinius in the guitar and drums plus the sober and always accurate work of André Manke on the bass. Together they have created a solid project that blends Symphonic Prog, Heavy Metal and Classical Baroque Music, with the dramatics of Goth, relaying on imaginative and original compositions that have thrilled and captured me from the first listen. The album is opened by the gloomy piano introduction of Sie that really breaks my heart with emotions that go from sadness to some sort of claustrophobia?.Two powerful sentiments that the band transmits with impeccable skills. But that's not all, as the song advances and the voice is added, the sensation of melancholy grows in intensity that is even boosted more by the heavy guitars, percussion and breathtaking choirs, delightful from start to end. Substanz starts heavier with drums and bass, but after a few seconds the voice, piano and distorted guitar join the scene to create another heartbreaking musical piece that blends the spirit of Hard Rock with the structure and beauty of Symphonic Prog, without leaving behind their trademarked obscure and mysterious sound. Again the choirs are perfect to create a powerful sound with a delicate structure. I can't imagine this music in a different language than German, is just the right choice instead of falling in the common error of adding English vocals with a strong accent, this formula is repeated with success in the stronger and even darker Traum, which kept me at the edge of the seat from the first to the last note. Schiksal begins with a bass and drums introduction that caught me by surprise, not even the familiar voice of Anne-S and the Classical oriented passages sound as in the previous tracks, this is heavier and stronger with an organ section replacing the piano, not what I expected but as nice change that demonstrates the versatility of the musicians. The finale is simply brilliant. Apparently Schiksal marked a turning point in the album, because the sound changes dramatically, a change that's more evident in Winter where a heavier organ almost replaces completely the sentimental piano, still the Symphonic and Classical elements are present, but now we are talking about some sort of melodic Metal song, again not what expected, but I like the surprises, and the mood of the music hasn't changed. Now is the turn for Grau where the band returns to the style of the firtst songs, but this time they bring a new and fresh Jazz ambient that melts perfectly with the dramatic Classical oriented music, adding something new for the delight of the listener, who never loses the interest, because there's something new in each song. In Stille the band keeps changing, we have more Jazzy percussion and bass with heavy Gothic (in the sense of late medieval) music, if there's something called a Power Ballad, I would describe Stille as a Power Madrigal, beautiful, nostalgic, dramatic, but as usual full of strength and mystery, the bells that blend this track with - really freaked me, but loved the effect crated by this talented guys and must only add that - works as an epilogue for Stille. The album is closed by the heavy Medieval Weg, an instrumental that comprises everything that VIA OBSCURA presented in the album but weirder and more dissonant than ever, without doubt the perfect closer for an extraordinaire album. 
Review by "Ivan_Melgar_M" (Prog Archives).

RATING:  8.25 / 10

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*. Filoritmia .*

Album: Filoritmia (2000)
Genre: Prog Rock (Symphonic/Heavy Prog)  /  Italy

I am quite charmed when I listen to the opening number "Al Buio". It is a strong song that features some delicacy; but it is combined with very powerful passages as well. Dramatic vocals, theme changes, heavy guitar and wild parts are the mix. Add some heavy organ and you'll get the whole picture. Amazing! The heavy feel is consolidated during "Rapporto Occasionale" which offers a complex rhythm and a solid beat. Musicianship is excellent and vocals pretty decent, even if nothing from the other world. It is true to say that the band is leaning on the heavy angle; not as much as "Wicked Minds" but not too far either. The next song is also in line: some sort of similarities with "Black Widow" are noticeable (mostly in the mood of the song): dark, heavy and at times scary. Another very good song from this very good work so far. Even if the global sound is quite similar, this work is quite varied: some great guitar solo while "Fiato Sul Collo" is being played adds another great layer to their debut album. It is also true to say that I quite like this style of music (heavy prog, I mean). Wildness is going on here with another fine rocking moment: "Dirti Di No" is such a piece featuring a symphonic opening (for a short while), off-beat rhythm, moving guitar and pumping organ to conclude. As you can read, this is quite a solid mix! Most of the songs are on the long side (which makes this album pretty long, but with no consequences about the quality). One of the longest is "Questo Inferno": it embraces again the "Black Widow" mood which I like so much. Dark, heavy, skilled. In one word:great. To be honest, these seventy-three minutes of music are quite enjoyable, and I didn't see the time passing by while listening to this album for the first time (which is a good sign). Of course, not all songs are great ("La Mappa Del Tempo") but as a whole, this debut is quite encouraging. After this, the band will enter in some sort of hiatus (eight years) before releasing their follow-up. Four stars for this one, that closes on the bombastic "Epoca Lontana" which leans towards the jazzy atmosphere and provides some break of style. It starts with an oppressive instrumental opening, some frenetic beats and juicy maestria (drumming, piano). This Italian band deserves your attention. Be aware though that the music that you will discover is more heavy oriented than ISP. Review by "ZowieZiggy" (Prog Archives).

RATING:  8 / 10

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domingo, 28 de outubro de 2012

*. Maja de Rado & Porodična Manufaktura .* (Album + 2 Single's)

Album: Stvaranje (1974)(Reissue 2005)
Genre: Prog Folk (Psych./Beat/Pop)  /  Serbia

At first listen I was not much impressed. Poor audio quality of the available mp3 format notwithstanding, mostly acoustic balladry with occasional flute and prim tambouritza (a mandolin-related string instrument common to Central-South-Eastern Europe) contained little to invoke my repeated listening, so I abandoned it for a while. Still, I recently decided to give it another try in order my review for ProgArchives to be more substantive. What strikes me the most about this LP is an apparent gap between the potential quality and song writing talents of Maja de Rado and her companions (including Petar Pavisic on double bass and Branimir Malkoc on flute) and the resulting product. There are many interesting moments that keep this album firmly within the contemporary acid-folk or psychedelic acoustic rock of the Seventies. The leading instruments, flute and prim tambouritza, were still not common in rock scene back in 1974, with a few notable and famous exceptions, so that fact alone represented a brave and pioneering act in the early 1970s in Yugoslavia. Unfortunately, the production was very poor and it is particularly evident in the mixing of the vocals, for which the group members (namely Jugoslav Vlahovic as main credited producer and arranger) were to be blamed. On top of that, the PGP label lacked professional and skilled producers and sound engineers who should have known the contemporary pop and rock expressions and how to translate the artists' ideas into a final recording process. Similar thing happened to the famous debut of POP MASINA - "Kiselina", which was originally a disastrous product in terms of production, but was recently remastered according to the original band's idea. I would say, "Stvaranje" should be seen as the next candidate from the PGP RTB back catalogue for a thorough remastering and reissue on CD format (I hope the current editor of the PGP Retrologija series Mr. Bane Lokner will read this! - He has already deserved credits for several important CD reissues of old classic progressive rock acts like SMAK, INDEXI, or IGRA STAKLENIH PERLI). Musically speaking, the two side-opening tracks are certainly the best on the album. "Strah" ("The Fear") is excellent track led by flute, catchy and quite accessible harmony vocals by Maja and Jugoslav and supplemented by solo parts on prim and (surprisingly!) drums courtesy of guest player Branimir Grujic. This track could have been a hit and is sadly neglected and rarely mentioned in the history of Yugoslav rock. "Noc" ("The Night") opens up with a bluesy acoustic guitar riffs, then delving into a mesmerised psychedelic acoustic jam. Flute leads the way, accompanied by percussion and bass when Maja enters with her soprano attempts (although her vocal is usually more on the alto scale). Prim adds some fine "banjo-like" finger picking spices. Again, this song belongs to the top of the acoustic acid-folk style. "Zid" ("The Wall") is more light sounding acoustic ballad with a violin (by guest player Milomir Stamenkovic) and a chorus part that evokes the pop festivals of easy-listening vocal pop/"Schlager" music. "Covjek i pas" ("A Man With a Dog") presents an odd and interesting attempt to make an acoustic blues song with prim emulating guitar-like riffs while organ provides nice and "floating" Floyd-like sensation. The track unfortunately stretches a bit too long while Maja is losing some of her vocal confidence. Another lightweight song with hit-potentials is "Nisam smio" ("I Should Not Have") sung lead by Jugoslav (I suppose, no detail given), which has an irresistible melodic hook similar to certain Dylanesque works by the contemporary luminary of the acoustic folk-rock scene in Yugoslavia, Drago Mlinarec from Zagreb. "Pa sto?" ("So What?") presents a short Renaissance/troubadour folksy vignette with gentle flute and tender prim picking similar to what Djukic Brothers did with the peer contemporaries S VREMENA NA VREME. "Bez zbogom" ("No Goodbyes") is another brief but strong heavy beat with leading flute chords reminiscent of some early acoustic JETHRO TULL moments. Not everything worked well on this album and it is now obvious that they paid tribute to the lack of professional experience and of studio engineering support. The remaining songs sound much weaker and that seems more due to poor arrangements and production than to bad song writing ideas. The prime example of this is the closing dark tune "Put i krstovi" ("The Road and the Crosses", which was dedicated to Salvador Allende!) which seems to lead nowhere along the repetitive congas percussion and ends this album with a bitter and unfulfilled taste. So to conclude, "Stvaranje" despite its valid moments and musical similarities was not a Yugoslav version of Germany's famous hidden masterpiece of similar style - BROESELMACHINE's self-titled debut of 1971 - that still occupies the loudspeakers of acid- folk and prog-folk lovers. At least, until "Stvaranje" sees the light of day in a remastered CD format... For now, no matter how sympathetic I may be I cannot give this album full 4 stars. 
Review by "Seyo" (Prog Archives).

RATING:  7.75 / 10

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 Single 1: Mudra mande / Pitaš me (1973)
Single 2: Nešto / Čovjek i pas (1973)

Songs / Tracks Listing Single 1:
01. Mudra Mande
02. Pitaš me

Songs / Tracks Listing Single 2:
01. Nešto
02. Čovjek i pas

RATING:  8 / 10

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*. Scythe .*

Album: Each Other (1999)(Demo Album)
Genre: Prog Rock (Crossover/Neo Prog)  /  Germany

The members of the band recognize that the sound quality and production are not very good due to financial reasons. I state that this is indeed the case (especially in the vocals), but will not worry about it anymore in the coming review, concentrating on the songs, melodies and moods.
Eruption: The Arrow's Point is the opener. Lots of organ and keyboards at first and then the guitar sets in. The vocals are more or less recited on a melodious note and the music can be likened to Discipline. The keyboards exude a seventies aura, but the guitars are rather noisy and heavy. Am I Really Here? is the next one up. This is a full length track opening with willowy guitars and keyboards. Then we come to a clear part with long high notes on the guitar and piano. The melodies are rather somber and I'm reminded of the Scandinavian bands of the nineties. The vocals are a bit hazy and slurred, and could be a little better articulated. Still, it does not hamper the music too much. The vocal parts are generally rather quiet, but I like it when Thielen interjects some more involved singing. I won't say that everything he does is in tune or anything, but I do feel it fits in with the music. Faded is an interlude with the accent on percussion and bass. Moody. Discussed is the second major track. Soft keyboards, a pining bass open and the song continues to be somewhat somber, almost a lament. The percussion is quite nice here, being rather low. Good melodies again as on the previous tracks and some rather frantic vocals (generally during this track they are grating) as well (compare Peter Hammill in his old days). A really good track that can get quite heavy at times. It ends rather abruptly. Elegy is a soothing instrumental. The longest track by far is One Step Further. Again, the music is not very happy. After the first vocal part we come to an extensive keyboard part. A striking feature is the almost circuslike intermezzo. the song only begins to shine past the middle of the track. I'm strongly reminded of Van Der Graaf Generator here. At the end the music even becomes uplifting. An anthemic ending. The closer is an unnerving, distorted and disjointed instrumental: lots of different effects on the keyboards. I love it.
Conclusion: I hope some label will pick this band up. They really show great promise in their music. They will have to work on those vocals, but I do hope that the singer retains his expressivity and personality. The album actually only contains three or four tracks with the other short ones functioning as interludes, to relax by. Comparable to the dark, passionate progressive from Scandinavia and I also hear some echoes of Van Der Graaf Generator, but on the whole they seem a little more accessible. I think it is fair to say we have a new competitor with an original sound. All we can hope is that they can (maybe rerecord and) release this demo album. For the time being I advise you to go and have a listen and support this band. Review by "Jurriaan Hage" (www.staff.science.uu.nl).

RATING:  7.5 / 10

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*. Diagonal .*

Album: The Second Mechanism (2012)
Genre: Prog Rock (Eclectic/Jazz/Exp./Psych.)  /  UK

The Second Mechanism is the second record from the Brighton, UK progressive rock and jazz quintet Diagonal (formerly a septet). I can see what Diagonal are doing here. They do it well too. Creating richly textured progressive rock that pays homage to Prog acts of 40-odd years ago, these five songs each travel a musical journey full of technical composition and proficient performances. The problem for me is that they are also devoid of any real emotion or sense of whole, despite throwing in the same twiddly 8-bit sounds at the beginning and end. It's like the difference between the teacher you had at school who droned on and on about the subject, and the one who took you outside that environment to teach with games and activities. With each song we get one passage after another of very well contrived musical lines that combine the repetition of krautrock with the meandering fluidity of jazz and metal. Guitar, bass, drums, keys/synth, sax and even some vocals all have a specific role to play that is precisely mapped out. They all get their turn to shine but there is no real sense of soul. Take the vocals in 'Hulks' – each note sung with equal measure and almost devoid of legato, making them sound clinical and emotionless as they bounce up and down almost for the sake of it rather than to create any sort of melody. For me music that is eclectic and erratic needs to feel spontaneous and alive – in the context of this record bands like Xenograft and Tangled Thoughts Of Leaving spring to mind. Tensions that are built over several bars give so much more than a series of phrases that set out to create a groove for a bar or two, throw in dead end to disrupt the flow then repeat, as so often happens in “The Second Mechanism”. Music can be clinical and repetitious while still engaging the listener with tension, power and emotion as bands like Heirs demonstrate. Unfortunately this record has all the emotion of a mother-in-law's kiss. Great musicianship, thoughtful and meticulous composition are in abundance here. Fans of the band and this sound will of course tell me that I've missed the point but that's not the case. I do understand, I just don't think it's that good. Review by "Gilbert Potts" (www.ghostcultmag.com).

RATING:  8 / 10

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*. Nine Stones Close .*

Album: One Eye On The Sunrise (2012)
Genre: Prog Rock (Crossover/Neo Prog)  /  UK

Songs / Tracks Listing
01.Faceless Angel
02.A Secret
03.Janus
04.... and dream of sleep
05.One Eye On The Sunrise
06.Eos
07.The Weight
08.The Distance
09.Frozen Moment
10.Sunset

Line-up / Musicians
Adrian Jones / Guitars
Brendan Eyre / Keyboards
Marc Atkinson / Vocals
Pieter van Hoorn / Drums
Peter Vink / Bass

RATING:  ?????????????

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sábado, 27 de outubro de 2012

*. The Chant .*

Album: This Is the World We Know (2010)
Genre: Prog Rock (Atmospheric/Gothic/Post Metal)  /  Finland

You can really hear The Chant live in a Nordic country where it freezes most of the time. Shimmers of dark winter melancholy and flashes of the calming warmth of a fireplace keep seeping into these songs from all sides. This is music made to move you. Using glossy and straightforward rock music with some metal hiccups, The Chant easily finds the gateway into suomi metal. Catchy rock hooks are woven together by soothing guitar lines and compelling piano parts. In that event, This Is The World We Know - an album dealing with mental isolation btw - fosters a special kind of atmosphere that is tranquil as well as dolorous. The real icing on the cake though, is the ever soulful voice of Ilpo Paasela; a voice that almost literally pours melancholy. His somber vocals are mostly clean, without ever sounding whiny, at times backed up with some blistering screams. Paasela 's warm and strong vocals couldn't be more fitting for this kind of mellow music, giving the album even more depth and vigor. The Chant is perhaps still a little too radio rock-driven to come anywhere close to that acclaimed Ghost Brigade-like melancholic mood. Nonetheless This Is The World We Know rolls in as a good-to-great album with a clean and streamlined touch, that will undoubtedly turn a lot of heads, with its gloomy atmosphere warming the cockles of many hearts. 
Review by "Thryce" (www.metalstorm.net).

RATING:  7.75 / 10

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*. Vox Dei .*

Album: La Biblia (1997)(Re-Recorded)
Genre: Prog Rock (Symphonic/Psych./Blues)  /  Argentina

Songs / Tracks Listing
01.Génesis
02.Moisés
03.Guerras
04.Libros Sapienciales
05.Profecías
06.Cristo - Nacimiento, Muerte y Resurreccion
07.Apocalipsis
08.El Manto de Elias - Obertura Iº Movimiento
09.El Manto de Elias - IIº Movimiento

Line-up / Musicians
Ricardo Soulé / lead guitar, vocals
Willy Quiroga / bass, vocals
Rubén Basoalto / drums
Guests:
Andrés Calamaro / piano, guitar, vocals
Alejandro Lerner / vocals
Fito Páez / vocals

RATING:  7.75 / 10

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sexta-feira, 26 de outubro de 2012

*. Jadranka Stojaković .*

Album: One (2003)(Mini Album released in Japan)
Genre: Prog Folk (Singer/Songwriter/Acoustic Folk)  /  Bosnia-Herzegovina

Songs / Tracks Listing
01.Anau tuki , Ano Cuto
02.Ni ti, ni ja
03.Ueo mujte
04.Blijedi mesec
05.Yumede, yumede
06.The Star Is Watching

RATING:  8.25 / 10

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*. The Escape .*

Album: Faith and Decay (1999)
Genre: Prog Rock (Gothic/Electronic/Darkwave)  /  Germany

We probably have the thriving scene in Germany to thank for the existence of goth in the late nineties. While sometimes coming up with very good records, German goth bands tend to be just a little too faithful to their British predecessors. The Escape is a very German band. On their third album "Faith and Decay" they stir in a little of everything. Strings and piano bring in the classical sound, while the singing, guitars and programmed drums bring Sisters of Mercy and Love Like Blood to mind. Synthesizer sounds remind us of the late release date. The overall picture is a melancholic one. Tears and loss take precedence of occult gibberish, common among many other goth bands of today. "Faith and Decay" is a decent contemporary gothic rock record. It induces a certain mood rather than impresses with individual sounds. Don't look for great surprises here. This is simply the way orthodox premillennial goth music sounds. Including stealing portions of Sisters of Mercy songs in an all too obvious way. 
Review by "Mattias Huss" (www.releasemagazine.net).

RATING:  8 / 10   **GREAT**

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*. Black Country Communion .*

Album: Afterglow (2012)
Genre: Hard Rock (Prog Rock)  /  USA

‘Afterglow’ is an apt title indeed. It is the sound of a band who have grown comfortable musically (if not personally) and who feel no pressure to repeat their previous outings. Glenn’s insistence that the record was ‘a continuation’ of the journey begun on the first two records proves to be accurate and it is notable that ‘Afterglow’ does not start with a barn-burning exercise in histrionic vocals and molten riffs, but instead eases its way into your consciousness with the funky ‘Big train’, a track that allows plenty of space for Derek Sherinian’s keys and a positive showcase for Jason Bonham’s exemplary skills as a drummer. Here Glenn’s love of soul is laid bare as backing singers sweeten the chorus and Glenn’s own funky bass runs light up the paired-back verse. Not that Joe is absent from the track – an understated, gloriously bluesy solo takes us towards a bridge which for all the world oddly sounds like latter-day Genesis. Upping the groove and setting Joe off with a riff that burns and smokes, ‘This is your time’ is a mixture of Led Zeppelin and Soundgarden and it sounds thoroughly immense, even whilst the chorus is a restrained affair that allows more room for vocals than for guitar, it only serves to make the central riff sound all the more powerful. ‘Midnight sun’ takes its cues from The Who for its ‘Baba O’ Riley’-aping intro before heading off in a considerably heavier direction, Glenn’s voice straining at the leash as Joe’s riffs pile up over Jason’s heavy-duty percussion. There’s certainly plenty here for heavy rock fans to get their teeth into, but time and again it’s notable that there’s deftness, a lightness of touch that was only present sporadically on previous releases, and the result is a set of songs that flow beautifully together, taking the listener on a journey that charts the course of rock from the early seventies right through to the present day. The first track to be heard from the album ‘confessor’ is already, undoubtedly, embedded in the heads and hearts of all those who have enjoyed the Black Country Communion thus far. For those who have missed out it’s a storming number with more than a touch of Purple about its driving riffs, prominent keyboard washes and full on percussive attack. Of course, being a Hughes composition, there’s also a deep seated sense of melody and the lung-bursting chorus on the track is a particular highlight. ‘Cry freedom’ is a full on blues stomp that sees both Joe and Glenn step up to the microphone together, making you realise just how good the two singers sound together. The album’s title track (described, accurately, by Hughes as an epic) is a slow-building number that grows from a humble acoustic beginning into a full-blown rock monster over the course of six, spine-tingling minutes of hard rock heaven. There is no surprise they named the album after this track – it neatly encompasses all that is great about Black country Communion and the thought that this band may not last much longer becomes all the more unbearable as the album progresses. ‘Dandelion’ contrasts the subtle tones of acoustics on the verse for a full on, multi-layered chorus with vocal harmonies and steaming riffs all combining to get your body moving whether you wish it to or not, and Glenn’s vocal performance here is second to none. Slowing the pace, ‘the circle’ is a progressive-minded track that recalls Southampton artist Steve Thorne with its elegant, smooth vocals and subtle melody sending shivers down the spine, whilst the heavy chorus builds up a head of steam as the track slips towards its conclusion, Joe’s solo a particular highlight even as it is rather low in the mix. By far the funkiest track on offer, ‘Common man’ is a chocolaty-smooth slice of funk-infused soul that slinks into view wearing a genuine mink coat and shades even though it’s midnight and dark all around. Of the final two tracks ‘the giver’ is another track that takes the album in a gently progressive direction, with hints of Genesis, Steve Thorne and The Who shot through the track’s genetic make-up. It’s a trick that the band pull off well, and the softer tones provide perfect contrast for the heavier riffs found elsewhere. The closing track, arriving all-too-soon as always, ends the album on a rocking note. Entitled ‘crawl’, it does indeed grind into view on a brutal guitar riff that has as much Sabbath about it as it does Zeppelin, although the highlight has got to be the lead battle between Bonamassa and Sherininan in the song’s closing moments. It’s a phenomenal end to an album that showcases the very best of Black Country communion over the course of its eleven tracks. If this is, as current behaviour suggests, the end of Black Country Communion then fans will be left with the bitter-sweet knowledge that their band went out on a high. All three of the Black Country Communion albums have been spectacular, but what ‘Afterglow’ offers is a sense of cohesion – possibly the benefit of a greater gestation period – that was only fitfully present on previous outings. Derek Sherinian gets a greater role here and the band sound comfortable as a unit, each musician bringing his own distinctive style to the plate over the course of eleven varied and brilliantly written tracks. Credit must also go to Glenn Hughes for his bravura vocal performance. Exercising the full range and depth of his stunning voice, his clean, warm tones are the perfect foil to his more familiar rock ‘n’ roll roar and it is strongly arguable that his performance here is one of the best vocal performances of the year, if not the best. On every album BCC have demonstrated growth, if they stop here it will be a genuine loss to the community, but if the worst should happen we should at least be grateful that the band found time to record ‘afterglow’ for it is an amazing achievement that will capture the attention and imagination of rock fans the world over. A singularly brilliant record, ‘afterglow’ will undoubtedly hit album of the year polls everywhere and deservedly so – it is an excellent record. Review by "Phil" (www.sonicabuse.com).

RATING:  ???????????

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*. Tužne Uši .*

Album: Tužne uši (1982-87)
Genre: Prog Rock (Pop/Rock)  /  Croatia

Songs / Tracks Listing
01.Bijeg
02.Hod kroz maglu
03.Neka gore vatre
04.Nestvarne stvari
05.Noć je moj svijet
06.Obale
07.Pjesma s kraja svijeta
08.Probudi se i ustani
09.Stranci
10.Ti me uci
11.Trebam te

Line-up / Musicians
Dinko Fazinic / vocals
Sasa Kesic / guitars
Mladen Dikic / keyboards
Dalibor Kuzmanic / drums
Ivo Siskov / bass

RATING:  6.75 / 10

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*. Elfsong .*

Album: A csodák könyve (2012)
Genre: Prog Rock (Symphonic Rock/Metal Musical)  /  Hungary

Symphonic, epic rock / metal musical. For those who do not give up, and preserve the stories of their heart, as long as they live! (www.facebook.com)

Songs / Tracks Listing
01.Nyitány
02.Egy Este a Kövér Nyúl Fogadóban
03.Fogadás és Játék
04.Hangjáték 1
05.Éjvarázs
06.Árnyék és Fény
07.Az Én Fiam
08.Hangjáték 2
09.A Szilánk
10.Mozdulj, Mint a Szél
11.Mézdal
12.Ébredő Álom
13.Tűz az Éjben
14.Más Lesz Majd Minden
15.Az Árulás
16.Mikor a Varjak Hoznak Hírt
17.A Búcsúzás (Pipitér)

RATING:  6.5 / 10

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quinta-feira, 25 de outubro de 2012

*. Alphataurus .*

Album: AttosecondO (2012)
Genre: Prog Rock (Symphonic Prog)  /  Italy

In the so-called 'revival' of Italian Progressive Rock, which sees many historical bands reform, come back to the stage and, in some cases, record a new album, Alphataurus' "AttosecondO" is without any doubt one of the most awaited release. Authors of self-titled LP in 1973 which is unanimously considered a masterpiece, Alphataurus have come back together in 2010 to play at the Progvention evening, together with Garybaldi and Locanda delle Fate; the concert was recoded and released in the recent "Live in Bloom". From this union, where only guitarist Guido Wassermann and keyboardist/main composer Pietro Pellegrini survived from the old line-up, "AttosecondO" was born: five long tracks, complex and intense, a prog-hard rock that reads back the never forgotten '70s feelings and sounds with a modern awareness and production. The front artwork, as for the previous "Live in Bloom", has been made by Adriano Marangoni, the same artist who, almost 40 yeas ago, painted the marvellous debut album cover. "AttosecondO" simply stands among the most important releases of a music genre, the Italian Prog Rock, which seems to be living today a new prolific youth! (www.recordheaven.net)

RATING:  8.5 / 10   **MARVELLOUS**

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*. Le Particelle .*

Album: Azimut I (1970)
Genre: Prog Rock (Rock/Pop/Folk)  /  Italy

A big group, composed of 11 singers and musicians, Le Particelle released a single with a cover version of the Moody Blues' Watching and waiting and soon after a concept album called Azimut I.  A typical product of the time, the album is a sort of pop opera, with multivocal and choral parts on a rock background with some orchestral arrangements, and lyrics dealing with the decline of mankind. Among the band members Maurizio Fabrizio and his brother Salvatore, along with drummer Andy Surdi (later with Angelo Branduardi). (www.italianprog.com)

RATING:  7.5 / 10

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*. Rani Mraz .* (Remaster)

Album: Odlazi cirkus (1980)(Remaster 1999)
Genre: Prog Rock (Pop/Rock/Singer/Songwriter)  /  Serbia

Songs / Tracks Listing
01.Priča o Vasi Ladačkom
02.Još jedna gorka pesma
03.Nisam bio ja za nju
04.Menuet
05.Život je more
06.Pa dobro gde si ti
07.Mirka
08.O, kako tužnih ljubavi ima
09.Ostaje mi to što se volimo
10.Odlazi cirkus

Line-up / Musicians
Đorđe Balašević / vocals, music & lyrics
Biljana Krstić / vocals
Josip Boček / guitar, arrangeds
Bojan Hreljac / bass guitar
Slobodan Marković / keyboards
Lazar Tošić / drums

RATING:  7.75 / 10

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quarta-feira, 24 de outubro de 2012

*. Graveyard .*

Album: Lights Out (2012)
Genre: Psychedelic Rock (Hard Rock/Stoner)  /  Sweden

2012 release from the Swedish Metal band who have their own brand of beer in Sweden, and have won a Swedish Grammy for Best Hard Rock album, and landed on three Billboard charts. Lights Out reflects the diversity of their writing. From the apocalyptic, riff-driven 'An Industry of Murder,' to the melancholy 'Slow Motion Countdown' and psychedelic 'Endless Night,' the album shows them ranging from ace rock lords to contemplative balladeers. Recorded entirely analogue, Lights Out sears with social commentary; frontman Joakim Nilsson's versatile grit; and guitarist Jonatan Ramm's instantly memorable riffs. (Amazon)

Songs / Tracks Listing
01.An Industry Of Murder
02.Slow Motion Countdown
03.Seven Seven
04.The Suits, The Law & The Uniform
05.Endless Night
06.Hard Time Lovin’
07.Goliath
08.Fool In The End
09.20/20 (Tunnel Vision)

RATING:  7.5 / 10

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*. Amber Asylum .*

Album: Bitter River (2009)
Genre: Prog Rock (Chamber/Ambient/Acoustic Folk/Post Rock)  /  USA

Since the mid-'90s, San Francisco ensemble Amber Asylum has been stretching the boundaries of post-rock music into a kind of chamber goth sound that owes a little bit to metal, but just as much to folk (they've covered Black Sabbath, but also Buffy Sainte-Marie's "Poppies" and Richard & Linda Thompson's "The Great Valerio"). This new album shows the influence of group leader Kris Force's longtime involvement with Neurosis as well as an appreciation for ancient music; the melody of "Winter Winds" is very much in the spirit of "Greensleeves" or similar songs. There's also a heavy electronic and psychedelic feel to the music, though; voices drift in and out as though through a haze, and instruments -- violin, cello, guitar, piano -- surge forward and back in the mix with the same disorientation one hears in the work of dub producers like Lee Perry and King Tubby. The nearly 15-minute "Nocturne" combines all these aesthetic strategies into one sweeping epic, Force's cello spinning out long, melancholy lines reminiscent of the theme song to the creepy 1990s TV show Millennium as acoustic guitar and whooshing synths hum and plink around her. Wordless vocals add a ghostly ambience, and the track winds down in a delicate dissolution like the air itself is hissing out of the room. Kris Force and her cohorts have been developing this highly individual, carefully conceived soundworld for over a decade at this point, and they've so totally synthesized their influences that now they sound like no one else. Review by "Phil Freeman" (www.allmusic.com).

RATING:  7.75 / 10

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*. Terusi .* (Singles)

Single 1: Vrati se / Živim u svom svijetu (1975)
Single 2: Slutnja / Mjesto pod suncem (1976)
Genre: Prog Rock (Heavy Prog/Symphonic)  /  Bosnia-Herzegovina

Songs / Tracks Listing - Single 1
01 - Vrati se
02 - Živim u svom svijetu

Songs / Tracks Listing - Single 2
01 - Slutnja
02 - Mjesto pod suncem

RATING:  8.25 / 10

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terça-feira, 23 de outubro de 2012

*. Hexvessel .*

Album: No Holier Temple (2012)
Genre: Prog Rock (Psychedelic/Neo Folk)  /  Finland

This is psychedelic, fuzzy and progressive folk rock. It's much more of a band album than the debut, which in this case works in its favor. There are fewer songs, and they're longer - with the exception of some interludes. The overall sound is organic, with a fuzzy guitar, a bunch of folk instruments and (I think) saxophone. The songwriting is exceptional; whether they have good and memorable melodies is one thing, but there are no easy, formulaic solutions here. I have to respect the sheer care with which every piece is crafted, even when they're not that moving. I don't get some of the praise this band gets. I've seen more than one or two raving reviews and comments. I imagine it's mostly because this is one of the few "alternative" non-metal bands some metalheads get around to listening, and they're blown away by this whole new musical world. It's very competent and atmospheric, and half a star up from their debut; but it's not that special. The highlights here are the longest tracks: His Portal Tomb and Unseen Sun. I know this is an overused comparison, but the latter gives me some serious Pink Floyd vibes. Spiced maybe with a bit of Jethro Tull. Review by "IronAngel" (Rate Your Music).

RATING:  7.75 / 10

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*. Cveće .*

Album: Polenov prah (1983)
Genre: Prog Rock (Pop/Rock/Jazz)  /  Serbia

Songs / Tracks Listing
01.Svetla velegrada (4:05)
02.Balkanac (3:31)
03.Okitiću te svu (4:25)
04.Eleonora (3:55)
05.Bila mi je cvijet (5:54)
06.Torba puna, život prazan (4:31)
07.Hipik (3:49)
08.Igrač na žici (4:33)

Line-up / Musicians
Christopher Nicholls / keyboards
Slaviša Pavlović / bass
Slobodan Stojanović / drums
Srećko Maksimović / guitar
Miodrag Babalj / vocals

RATING:  7.5 / 10

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*. Crippled Black Phoenix .*

Album: No Sadness Or Farewell (2012)(Mini Album)
Genre: Prog Rock (Post Metal/Post Rock/Exp./Psych. )  /  USA

After the release of the double album '(Mankind) The Crafty Ape' earlier this year and an extensive touring throughout Europe, the British band Crippled Black Phoenix is leading the way in the underground alt - progressive genre.'No Sadness Or Farewell' will bring their mix of Post Rock, Folk- and Progressive Rock that the fans love so much. It's This release also features the new vocalist John E. Vistic.

Songs / Tracks Listing
01.How We Rock (12:24)
02.Hold On (So Goodbye To All Of That) (06:54)
03.What Have We Got To Lose? (10:33)
04.One Armed Boxer (03:21)
05.Jonestown Martin (06:30)
06.Long Live Independence (05:24)

RATING:  7.75 / 10

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segunda-feira, 22 de outubro de 2012

*. Highlight Kenosis .*

Album: Change (2012)
Genre: Prog Metal (Prog Rock)  /  Romania

Their band name is rather interesting, some may say perplexing: Highlight Kenosis. Kenosis is not exactly a word one may have in their vocabulary, let alone know the meaning of. It's a word specific to Christian theology meaning 'the relinquishment of divine attributes by Jesus Christ in becoming human.' (It's developed from the an interpretation of Philippians 2:5-9.) One wonders if this is just one of two words they picked to put together for the name or it has some significance to the band. If it's the former, I'm glad they didn't pick 'uranus hurts.' Actually, it's the latter as guitarist and composer Matei Damian-Ulmu calls Jesus one of his heroes. Highlight Kenosis offers their second album Change, an interesting mixture of melodic rock and metal with prog nuances. Female vocalist Oana Maria Stoica has a strong and clear presence, with neither an operatic, common in the genre, or metal style. She seems mostly a rock singer, with a pop timbre. This is notable on Change the World. Yet she can also be quite ethereal, even haunting as on the closing piece Outro ... With Angels. As for the music, its often edgier and sometimes a bit more intricate. Mostly this comes from Matei Damian-Ulmu's composition which feature a dense guitar structure peppered with good solos. There's a light use of keyboards, but it merely provides atmosphere. Likely the best tracks for prog accents come on Change the World and Loving a Ghost. The larger dilemma for Change is that its a rather short album, at 32 minutes, with only eight songs, two being an intro and outro. Let's hope for something more expansive the next time around. Otherwise, recommended. Review by "Craig Hartranft" (www.dangerdog.com).

RATING:  7.75 / 10

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*. Koncz Zsuzsa .*

Album: Verslemez III. (1989)
Genre: Prog Folk (Pop/Rock)  /  Hungary

Songs / Tracks Listing
01.Fly, poem
02.Flower song
03.Lilac (Orga de apa)
04.Nursery Rhyme
05.Humming
06.Nineteen
07.Selling at Christmastime
08.Beyond fear...
09.On the Zither
10.You also know it
11.The Tales Teller from Wales
12.Red "Rébék"

Line-up / Musicians
Bornai Tibor / keyboards, backing vocals
Bródy János / acoustic guitar
Cserepes Károly / synthesizer
Dolák-Saly Róbert / acoustic guitar, vocals
Gerendás Péter / acoustic guitar
Lengyelfi Miklós / bass guitar, backing vocals
Lippényi Gábor / saxophone, keyboards
Márton András / drums
Móricz Mihály / electric guitar, acoustic guitar, zither, vocals
Németh Oszkár / drums and percussions

RATING:  8.25 / 10   **MARVELLOUS**

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