sexta-feira, 30 de novembro de 2012

*. Laivue .*

Album: Metsä (2012)
Genre: Prog Rock (Crossover/Post/Psych./Pop)  /  Finland

Metsä (Forest), Laivue's second full length album, two years senior to their firstborn, originates from the same seeds as its big brother, but it's been nourished with large amounts of the psychedelia of decades long gone, and allowed to spread beyond the boundaries of pop and rock. Thus Metsä grew to be versatile yet gloomy, new and strange even for the long-time listeners expecting something safe and sound. Even though nearly every song was hardened and deemed worthy in live situations, recording could not tame them, and they all turned into something altogether different: one towers with the unrelentlessness of a giant redwood, another sighs like the familiar aspen, and beneath each one lurks something wayward. Five songs clocking 40 minutes may not seem much, but heed the warning: leaving Metsä may not be simple. (http://ektrorecords.com).

RATING:  8.25 / 10  **MARVELLOUS**

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*. Landscape .*

Album: Landscape (2011)
Genre: Soft Prog (Crossover/Indie/Post Rock)  /  France

BIO: Fondé en 2004 par Guillaume de Chirac, compositeur du groupe et également clavier de Sébastien Schuller, Landscape est un projet libre pouvant intégrer de nouveaux membres au gré de chaque enregistrement ou concert. Plus de vingt musiciens ou chanteurs ont ainsi évolués au sein de Landscape, dont Syd Matters, Arman Méliès, Benoît Guivarch (Carp) et Steffen Charron (Emilie Simon, Jil is Lucky)… Après les envolées post rock instrumentales de One en 2005 et les arrangements de cordes et de cuivres qui accompagnaient les cinq chanteurs de With a little help from my friends en 2007, Landscape revient avec une formation resserrée de 5 musiciens pour son troisième album éponyme à paraître le 7 février 2011. Portées par la voix unique de Nicolas Leroux (Overhead) et les arrangements de basse de Richard Cousin (bassiste de Sébastien Schuller, Overhead), les compositions de Guillaume de Chirac privilégient les claviers et le mellotron sur ce nouvel album aux titres plus organiques, tout en conservant le climat aérien des deux premiers disques. Landscape a été enregistré et mixé par Nicolas Leroux d’Août à Novembre 2010 au studio « Mullholland Drive » près de Paris. Pour ce troisième album, Landscape a voulu privilégier le disque en tant qu’objet, à travers une double pochette recto verso inversée, illustrée par les Polaroïds de l’artiste Française Elise Boularan (www.eliseboularan.com). Landscape produit ses disques sur son label Square Dogs, auto géré avec les groupes Carp et Simple as Pop, dont l’esprit et le mode de fonctionnement n’est pas sans rappeler celui du label Canadien Constellation. (www.myspace.com/landscapeone)

RATING:  7.5 / 10

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*. Jeremy .*

Album: From the Dust to the Stars (2012)
Genre: Prog Rock (Crossover/Space Rock/Pop) /  USA

Ready for some nice laid back space rock? Yep, it's what this is all about. Jeremy delivers a nice bunch of groovy riffs, good melodies and psychedelic ambient interludes. From the Dust to the Stars may not blow your mind by its uniqueness, but few albums do that anyway. For me this album was a pleasant surprise, that does not try to be anything more than it is. At times I'm reminded of Ayreon and Hawkwind, but I'm not very familiar with this kind of music so not many bands come to mind. Lyrically it is a nice uplifting, not too serious sort of piece. My favourite tracks are Shake the Dust and beginner The Great Escape. Moderately recommended for everyone, and highly recommended for those who dig spacey music. Review by "Morsenator" (Prog Archives).

RATING:  ???????????

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quinta-feira, 29 de novembro de 2012

*. Had .* (Singles)

Single 1: Nebeski dar / Put u ništa (1972)
Single 2: Sunčani dan / Žene voli (život moli) (1973)
Genre: Prog Rock (Hard Rock/Psych.)  /  Croatia

Songs / Tracks Listing
Single 1
01. Nebeski dar
02. Put u ništa

Single 2
01. Sunčani dan
02. Žene voli (život moli)

Line-up / Musicians
Veseli Oršolić / guitar
Zlatko Pejaković / vocals
Davor Brkić / bass
Rajko Svilar / drums

RATING:  7.75 / 10

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*. Spyros Charmanis .*

Album: Just Another Story (2010)
Genre: Prog Rock (Crossover Prog/Alternative/Exp.) /  Greece

BIO: Spyros Charmanis was born on the 25th of September, 1984 in Volos, Greece. He received classical music training since the age of 9, where he started playing the recorder and then moved on to the oboe, studying the instrument for 6 years. During that time he was also part of the Youth Orchestra of Volos and the local music school’s choir. During the first half of his teenage years his attention shifted to more rock-oriented sounds and instruments and he picked up the drums (with a little help from his cousin who was studying the instrument at the time) and he taught himself how to play the guitar. During college he was involved with various cover bad projects playing the drums, bass guitar and singing the likes of Simon and Garfunkel and the Beatles. In 2007, already fond of the idea that the music album is an art form rather than a plain collection of songs, he decided to focus on cultivating his own music ideas and bought some cheap home recording equipment. In 2010 he produced and self-released his debut album ‘Just Another Story’, which was received rather well considering it was a DIY release and therefore deprived of any major media coverage, which was followed by some live dates presenting the material. In 2012, a brief stint of working as a doctor’s secretary provided him with the necessary funds and in September of 2012 he self-released in the same pace his second album, ‘Wound’, which is a concept album revolving around the notion of moving on. (www.spyros-charmanis.com)

RATING:  7.75 / 10

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*. Quiet Child .*

Album: Thumper (2011)
Genre: Prog Rock (Crossover/Alternative/Metal)  /  Australia

BIO: Channeling the best progressive sounds of the last two decades and infusing it with their own individual twist, Quiet Child have demonstrated a hard-working longevity in a fickle market. Steadily building up a reputation as one of the best live rock acts on the local scene, their distinct sound has garnered them a devoted and steadily increasing following. Having spent the last few years sharing the stage with some of Australia’s finest acts, 2011 sees the band come into their own as they hit the road to unleash their second album ‘Thumper’ as a follow up to 2009′s Evening Bell. The diverse and intricate song-writing of their new album is weaved to eerie perfection with the voice of, arguably, one of the best upcoming vocalists, demonstrating the musically dynamic range of a talented and sonically unified group. Thumper is a lyrically hard-biting yet beautiful record, delivering both ends of epic from the tongue lashing of Darwin, to the sweet melancholy of Walking Ghost. (http://quietchild.org/bio/)

RATING:  7 / 10

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*. Rick Wakeman .*

Album: Journey To The Centre Of The Earth (2012)(Re-Recorded)
Genre: Prog Rock (Symphonic Prog) /  UK

In 1975 I gave away my copy of the original 1974 LP of "Journey To The Centre Of The Earth" and never bothered to replace it, as I found the music too 'commercial' for my taste and parts of the performance sub par. Actually, listening to the 1974 album again now on YouTube, it is certainly no masterpiece and I find it corny and cheesy in places. To make matters worse, some of the singing was poor, especially ASHLEY HOLT's strained and often out-of-tune vocals. Furthermore, I'm not a huge fan of live albums (the 1974 release was a recording of a concert in the Royal Festival Hall) as I find the occasional imperfections and crowd noise rather irritating. There are exceptions, of course, but generally I prefer a studio-recorded album (even if a group puts a track down live in the studio, it's usually better than a concert recording). So why did I fork out my hard-earned cash now for this 2012 reboot by RICK WAKEMAN? Curiosity, mainly. I wanted to see if he had improved on the 1974 original. I was also interested to hear if the singing would be better than the, at times, dire singing on the original (I had hoped, in vain as it turns out, that ASHLEY HOLT would not be singing on the 2012 album). Furthermore, the prospect of hearing the parts of the work not included in the 1974 performance was also a factor. And, finally, I was interested to hear a polished studio recording of the work rather than a recording of a live performance. So, what is the new release like, then? I can't say I've changed my mind about the music itself: it's as commercial-sounding and corny as on the original album. In fact, some of the added parts sound even more commercial, that feeling reinforced in places by the vocals of HALEY SANDERSON. Yes, a female vocalist participates this time, singing the parts originally performed by GARY PICKFORD-HOPKINS as well as singing the newly-added songs. Don't get me wrong, she has a lovely voice, but RICK WAKEMAN's mainstream melodies coupled with her vibrato singing style at times are more middle-of-the-road or pop than progressive rock ('Journey's Dawn' and especially 'Echoes' are pure ANDREW LLOYD WEBER to me, for example). Mind you, I would rather listen to her than ASHLEY HOLT. To be fair, his singing on this studio album is much better than on the recording pressed onto the 1974 LP, but I do wish RICK WAKEMAN had used someone else. DAVID HEMMINGS, the narrator on the 1974 album, died in 2003. His distinctive voice was one of the better things on that album, but PETER EGAN, another British actor, does a credible job on this reboot as he also has a clear, pleasant voice with some gravitas. He could perhaps have injected a little more awe into the narration, but it's fine. I have to say that the studio recording is good; the music sounds crisp and well-played. The orchestration is also good, and the synthesizer sounds are there too. The booklet containing the CD just lists RICK WAKEMAN's instruments as 'keyboards', without specifying the makes and models. My guess is that most -- perhaps all -- were digital rather than the analogue keyboards he played in 1974. Whatever they were, they sound good to this synthesizer fan. Overall, then, I prefer this reboot to the original live recording. I suppose my musical tastes have mellowed over the years as well, so the more-commercial sound does not grate as much as it did back in 1974. The accompanying 130-page Classic Rock special and replica of the 1974 tour programme make interesting reading. Classic Rock magazine are to be commended for releasing this CD and associated 'album fanpack', and I very much hope it is a commercial success and brings the music to a new audience, not just to the old guard. By the way, there are a few short pauses (track changes?) when I play the Audio CD on my Audio CD player in the lounge, but it plays seamlessly in the optical drive on my laptop so I assume the problem lies with my stand-alone CD player rather than the Audio CD. I'll be hanging on to the album this time, but I can't say "Journey To The Centre Of The Earth" is essential or even particularly important to own if you are a fan of progressive rock. Unless, that is, you collect also for a historical perspective, in which case it is as much a piece of the 1970s as 'Close To The Edge', albeit nowhere near as good. But it is quite fun and, let's face it, you can hum or whistle along to this stuff. My rating for the original 1974 album was 2 stars (Collectors/fans only) but I'm going to give this 2012 rehash 3 stars (Good, but not essential). Actually, were such a thing possible, I might even be tempted to bump that up to 3.5 stars to take into account its historical interest. Review by "Fitzcarraldo" (Prog Archives).

RATING:  8 / 10

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*. Ange .* (Box Set 2011)

Album: Les 50 Plus Belles Chansons (2011)(3CD'S Box Set/Compilation)
Genre: Prog Rock (Symphonic Prog) /  France

Une phénoménale compilation de Ange, trois compact-discs, cinquante chansons. La perfection ou presque (manque "A collin-maillard", l'un des plus fabuleux titres du groupe, mais presque tout l'album "Guet-apens" ne pouvait être représenté, ce qui est parfaitement compréhensible). Un best-of inespéré en tout cas, période Christian et Francis Decamps, de l'album "Caricatures" sorti en 1972 aux "Larmes du Dalaï-Lama" de 1992 (moins "Tout feu tout flamme" et "Sève qui peut", absents pour des raisons contractuelles), soit pile vingt ans. Indispensable pour tout fan de Ange et idéal pour faire découvrir ce fantastique groupe à tous les autres. Examen de "prince saphir" (www.amazon.fr).

RATING:  8.75 / 10  **GREAT**

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quarta-feira, 28 de novembro de 2012

*. Jethro Tull .* (Remaster 2012)

Album: Thick as a Brick (1972)(40th Anniversary)(2012 New Stereo Mix)
Genre: Prog Rock (Prog Folk) /  UK

This album is simply brilliant. It is flawless in every which way. It has upbeat parts, weird time signatures, solos galore, fantastic vocals that you can even sing along to, catchy melodies, and everything else you ever wanted. It is without question one of the most impressive peaks of progressive rock. The beginning is great, and sets up the whole show. Once it gets going with an upbeat section in 10/8, you know that you're listening to what's going to be a great song. One of the most catchy melodies, for me anyway, is about 16 minutes into side one, where the lyrics start, "I see you shuffle in the courtroom....". Martin Barre does a fantastic job, and I am really upset that he is not going to be on the new sequel to the album. Jeffrey Hammon Hammond has some of the best basslines ever laid down in this one song, and it keeps the whole thing going. My favorite things about Thick as a Brick: 1) It never seems to drag on...EVER....it always feels fresh, no matter what... 2) It makes so much sense, especially when you factor in the genius ending....the first time I heard this album, I was wondering, "Now how are they going to possibly come up with a way to end this monster?" And they do, quite perfectly. 3) The little touches really make the song perfect, such as the piano parts about 16 minutes in and the use of percussion. 4) The melodies are insanely catchy. I will be caught humming one all day whenever I listen to this song. 5) The lyrics are pretty awesome. This is probably one of my top ten albums of all time. I see no reason to dislike it. Utterly stunning and perfect. Review by "bb1319" (Prog Archives).

RATING:  9.5 / 10

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*. Miladin Šobić .*

Album: Umjesto gluposti (1982)
Genre: Prog Folk (Singer/Songwriter/Pop)  /  Montenegro

He was an active performer during the late 1970s and early 1980s in SFR Yugoslavia where his prominence had a strictly regional character with his popularity mostly confined to some parts of then Yugoslav republics of Montenegro, Serbia, Bosnia and Herzegovina and Croatia. His music is dominated by the sound of acoustic guitar, and has predominantly love and melancholic themes. (http://en.wikipedia.org)

Songs / Tracks Listing
01.Đon
02.Cipele nove
03.Umjesto gluposti
04.Opet krivi tip
05.Svetozara Markovića
06.Hram ljubavi
07.Nevjernice
08.Četa luđaka
09.Željezničke tuge
10.Ne pokušaj mijenjat me

RATING:  7.25 / 10

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terça-feira, 27 de novembro de 2012

*. Magrathea .*

Album: In Search Of The Crystal (2012)(Re-Recorded)
Genre: Prog Rock (Symphonic Prog) /  UK

Forth album to date of this discret symphonic prog band from UK named In search of the crystal from 2008. Knowing until few weeks ago only previous one Legends, I've decided to check aswell this album, so I've bought it from their bandcamp page. The album was complitely re recorded few weeks ago in june 2012 with a diffrent cover art and booklet, quite better then first issue. Even the sound is not fantastic, not many bands have big buget for mastering, mixing and producing, but is not a big problem because the compositions are most of the time enjoyble and well performed forgetting about the sound. Again a typical Genesis influenced album with all the ingrediants for a symphonic prog album and quite similar with predecesor. Nice keyboards passages and guitars aswell, quite complex and well played, the best example is the opening track followed by the best piece of the album, at least for me Bug eyed monster. Overall even the originality lacks here big time, the arrangements are decent and fair, fans of US from Holland, North Star from USA, Genesis can appreciate this band, they have ok albums and shows potential with each release. Review by "b_olariu" (Prog Archives).

RATING:  7.75 / 10

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*. La Strada .*

Album: La Strada (1987)
Genre: Soft Prog Rock (Alternative/Crossover/Post Punk) /  Serbia

La strada is the debut and only album by the Serbian alternative rock La Strada, released by M Produkcija Radio Novog Sada in 1987. Despite being released in LP format in 500 copies only and never rereleased on CD, the album is considered a highly influential release on the former Yugoslav scene. (http://en.wikipedia.org)

Songs / Tracks Listing
01.Mlad I Radostan
02.Došla Su Tako Neka Vremena
03.Neautentični Sneg
04.Pesak I Sunce
05.Okean
06.Plavi Tonic
07.Mam Luna

Line-up / Musicians
Slobodan Tišma / vocals
Jasmina Mitrušić / keyboards
Žolt Horvat / guitar
Daniel Stari / bass
Robert Radić / drums

RATING:  7.5 / 10

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*. Silver Key .*

Album: In the Land of Dreams (2012)
Genre: Prog Rock (Neo Prog)  /  Italy

Songs / Tracks Listing
01.In the land of Dream
02.More Than I Can
03.Learn To Let Go
04.Millennium
05.The Loss Of The Silver Key
06.The Guant Man
07.The Running Kid
08.The Guardian Of The Seventh Seal
09.Through The Gates Of The Silver Key
10.Dim Carcosa
11.The Silver Key
12.The King Of Light
13.Welcome

Line-up / Musicians
Yuri Abietti / Lead Vocals
Carlo Monti / Lead Guitar
Alberto Grassi / Bass Guitar
Davide Manara / Keyboards
Viviano Crimella / Drums

RATING:  ????????

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*. Colin Mold .*

Album: Water of Divinity (2007)
Genre: Prog Rock (Folk/Crossover/Symphonic)  /  UK

Being totally enthralled and enamored by Colin Mold's latest album 'Girl on the Castle Steps', I undertook the task of getting his debut recording 'Water of Divinity' into my collection and strive to comprehend where it all began for him, in terms of recording (his very first foray was the raw Kara project). There are some who do not like beautiful music, a notion that I find kind of bizarre, as if a pretty woman or a pretty photograph would somehow deserve to be unliked and therefore discarded. But this prettiness can also incorporate a colossal amount of pain and emotion, a strong sense of melancholia and nostalgia which is the underlying essence of such a wide variety of musical styles, from Gypsy, Fado, Celtic, Umm Kulhtum and Flamenco to blues, folk, jazz and rock. The seeds of future greatness ('Girl' is an outright masterpiece) are plainly audible on this exemplary offering, obviously kept low-key for budgetary reasons, such as the strong lead voice that resonates with such ardor and poignancy as well as the dexterous guitar playing of the highest caliber. Acoustic and electric workouts are technically proficient and exhibit a strong sense of personality and style that is well above the norm. This very personal album is littered with examples of Colin's musical expertise and showcases a bright future for this multi-instrumentalist. As per the liner notes, 'Water of Divinity' began as a collection of instrumental pieces designed around the story of St Alban and quickly evolved into a more or less conceptual recording with appropriate lyrics and vocals. The opener 'Pursuit of Amphibalus' is an all-instrumental track that espouses the electric folk-rock traditions of the United Kingdom in an obvious and expansive manner. The sedate 'The Dying Tree' is our first glimpse of Colin's quivering and angelic voice, a seductive expression similar to a less husky Justin Hayward. The fuzzy guitar washes amid the acoustic picking show the signs of a composer on top of his game , especially when the oblique lead solo kicks in , hinting at Iona's Dave Bainbridge or even Allen Holdsworth. 'Prayer and Shelter' is a hauntingly beautiful highlight track, like a sky full of scintillating stars, soothing backing vocals shepherded by a fluid electric guitar flight and blanketed in lustrous keyboards. Yes, there is a little hint of early Enya as well as some folksy preciousness that exudes beauty and serenity. 'So Many Thoughts' is a brief acoustic guitar interlude, aromas of Ant Phillips in the air, jangly notes resonating spiritedly. The sunny 'Beautiful Place' chooses to lean towards a more classic folk expanse, the sublime vocals and deep lyrics taking over a brisk and echoing melody, whilst whooshing Roland synths paint the air and sensuously duel with a voluptuous axe solo as well as some fine acoustic picking. From this moment on, Colin proposes a series of four songs that easily rival the future jewels on 'Girl on the Castle Steps', where sweeping rapturous melodies vie for attention with superb instrumental playing. First up, the grandiose 'When Will you Wait to See my Light' with its memorable chorus that sticks to your brain like some tenacious mould (pun time!), augmented by a soaring, scouring guitar solo for the ages, the soothing voice seeps lovingly beyond the melancholia and consecrating the talent on display here. I mean this is achingly beautiful, inspiring, personal and sensational music, a song for the ages. 'A Life Through my Eyes' continues the crest on which the music rides, a more acoustic oriented style at first that evolves into an enormous guitar excursion, flush with emotional drive and folk tradition, dense synthesized orchestrations that give width and breath to the meaningful lyrics. 'Arrival and Capture' seeks to prove a crucial point in terms of progressive value, bristling synths fluttering wildly and forcing a near symphonic aura that is applause worthy, shoving all preconceptions aside and highlighting some more fabulous playing that is all substance and effect, deeply cinematographic and sonically resonant. This is where the prog rock element is vivid and unpretentious, effectively providing depth to the recording. Both the keyboard and the guitar expertise are obvious and stunning. The heroic finale 'From the Spring Flows Hope' is another fine example of Colin Mold's craft, an inspired musical exercise that obliterates any doubt about his technical abilities, showcasing a staggering display on electric guitar, searing leads that cascade relentlessly from his fingers, flavored with distinct Celtic tones and his acoustic playing is nothing to disregard, his picking technique on par with his emotional delivery. Once again, the melodic inspiration is well beyond expectations, a supreme sense of melody and structure confirms the obvious. Fans of Iona, Mike Oldfield, Karnataka, Mostly Autumn as well as prog-folk in general need to check this talented artist out. Music for music's sake! A star is born. Review by "tszirmay" (Prog Archives).

RATING:  8.25 / 10

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*. Mike Heron .* (Reissue)

Album: Diamond of Dreams (1976)(Reissue 1991 + 1 Bonus)
Genre: Prog Rock (Hard Rock/Folk/Pop)  /  UK

The re-named "Mike Heron's Reputation" hit the shelves in '77 with Diamond of Dreams, which stands as one of Mike Heron's most mature and gratifying works. "Do It Yourself", a tale of feeling helpless while watching a struggling friend mask his pain, is masterful.  It's balanced perfectly by the sci-fi reincarnation epic "Redbone". Likewise, "Draw Back The Veil" mixes thoughtful lyrics with ferocious playing, while the uplifting title piece manages to convey more affect in its one simple verse than do most entire albums. This would approach five stars if it weren't so damn synth heavy. Still, it has much more presence than either album coming directly before of after it, and stands as the pure rock album that Heron always wanted to make. Review by "ochsfan" (Rate Your Music).

RATING:  7.75 / 10

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segunda-feira, 26 de novembro de 2012

*. Retrospective .*

Album: Lost in Perception (2012)
Genre: Prog Rock (Prog Metal/Crossover)  /  Poland

Songs / Tracks Listing
01.The End Of The Winter Lethargy
02.Huge Black Hole
03.Egoist
04.Lunch
05.Our Story Is Beginning Now
06.Tomorrow Will Change
07.Musical Land
08.Ocean Of A Little Thoughts
09.Swallow The Green Tones

Line-up / Musicians
Jakub Roszak / Vocal
Beata Łagoda / Keyboard, Vocal
Maciej Klimek / Guitar
Łukasz Marszałek / Bass
Robert Kusik / Drums
Alan Szczepaniak / Guitar

RATING:  8.5 / 10

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*. Moogg .*

Album: Le ore, i giorni gli anni (2011)
Genre: Prog Rock (Jazz Fusion/Canterbury Scene)  /  Italy

Sono passati non so quante ore, giorni, e circa 5 anni dal primo demo di questa band bresciana che tanto ci aveva incuriosito. Troppo forse, ma in fondo è meglio così, proprio perché il tempo ha permesso di amalgamare meglio le idee e anche di affinare il materiale sonoro che il gruppo già da tempo aveva a disposizione. Ascoltando infatti le nuove versioni dei brani già proposti nel vecchio demo ci si rende conto di quanto la band sia cresciuta, soprattutto a livello di sound e anche per quel che riguarda il cantato, piacevolmente scorrevole e modulato. Un passo cruciale nella storia del gruppo è dato dall’abbandono di uno dei membri fondatori, il bassista Rosario “Penny” Rampulla, che nel 2010 è stato brillantemente sostituito da un musicista ben noto ai nostri lettori e cioè Gianluca Avanzati che tutti noi ricordiamo nella line-up dei disciolti Notabene. Completano il quartetto il tastierista Toni Gafforini, il chitarrista Ivan Vanoglio e Marco Dolfini che canta e suona la batteria. Una formazione compatta quindi ma anche molto affiatata che arriva ad un debutto discografico molto equilibrato, ben disegnato e ben suonato. Bisogna dire che a dispetto del nome, che si ispira chiaramente al celebre sintetizzatore (ma con una G in più per non fare troppa confusione), questo album è dominato dai suoni vellutati e caldi del Rhodes, veramente onnipresente, con qualche ricamo aggiuntivo di Mellotron (che possiamo apprezzare nella lunga traccia conclusiva “Welfare botanico”) e Farfisa. Questo ovviamente non è un problema ma una semplice curiosità che può aiutare ad inquadrare meglio il sound della band che non ha niente di Yessiano o di Emersoniano, come erroneamente si potrebbe pensare adocchiando il monicker, ma si dimostra invece fortemente debitore verso la scena Canterbury. Ascoltando la title track che decolla gradualmente vengono in mente subito i Caravan di “If I Could Do it All Over Again…” ma, soprattutto la voce, imprime una calda e piacevole nota mediterranea (ottima in questo senso la scelta di usare l’italiano) che aggiunge un tocco decisamente personale ad una formula ben nota e collaudata. A parte Arti e Mestieri, più volte mi vengono in mente le Orme, proprio per lo stile ed il timbro vocale di Marco Dolfini: ascoltate per esempio a tal proposito la parte conclusiva di “Classe 21”. Altre volte gli impasti si fanno più sinfonici mentre in altri frangenti la musica acquista un volto quasi fusion o funky. I riferimenti sono molti più di quanto non sembri ad un primissimo impatto. Riguardo il brano appena citato, proprio l’apertura, ma è un effetto che dura in realtà pochissimo, sembra rubata ai Rush di “Moving Pictures”mentre il modo di suonare la chitarra mi fa invece pensare a Georg “Jojje” Wadenius. Anche altre tracce hanno a mio avviso un feeling jazz rock per certi aspetti di stampo “svedese”, ricordandomi band come Egba o Kornet, e penso in particolare a “Responsabilità”. Si tratta comunque di sensazioni molto variabili nell’arco dell’ascolto che è davvero scorrevole e che ispira paragoni a volte un po’ stravaganti come nella divertente “Moogugni” che a un certo punto ha un feeling decisamente anni Ottanta che ricorda persino la disco-dance. Ma non preoccupatevi per questa mia ultima affermazione, si tratta solo di diversi modi di giocare con la musica e con le influenze musicali che contribuiscono a rendere l’esperienza di ascolto più varia ed interessante. Quello che mi piace di questo disco è il fatto che non vuole mai spingersi sopra le righe evitando ogni dimostrazione di forza, dando sempre la confortevole sensazione di fluidità e scorrevolezza. Il sound ha poi un colore molto piacevole, non è mai aggressivo ma è vintage e vellutato, con piacevoli sentori di fine anni Settanta. La musica non è mai frammentata, mai capricciosa o aggressiva ma si sviluppa in continuo e progressivo crescendo, dimostrandosi decisamente avvolgente ed il cantato, usato in realtà con molta parsimonia, non la soffoca mai. Molto belle sono anche alcune parti soliste, sia di tastiere, come nella splendida e già citata traccia conclusiva, che di chitarra. Di spazio per crescere ce ne è ovviamente ancora tanto, e mi aspetto che questo avvenga, ma quello che per il momento abbiamo per le mani è un prodotto molto bello e realizzato con molta attenzione, sicuramente interessante per le nostre orecchie e che porta nel suo piccolo qualcosa di suo alla nostra scena italiana. Se vorrete provarlo, non ve ne pentirete, parola mia. 
Recensioni di "Jessica Attene" (www.arlequins.it).

RATING:  8.25 / 10   **GREAT**

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*. Sleepwalker .*

Album: Flower of Life (2004)
Genre: Prog Rock (New Age/Ethnic/World Music)  /  Bulgaria

World beat music on the new age end of the spectrum. Sleepwalker tends toward Native American global sounds with a live Native American walnut flute player and various voice and drum samples. The main musical structure is one of pianos, synths and guitars laid against programmed easy breakbeats and atmospheric interludes. Some of the most striking sounds on the album are a pair of operatic voices that are credited to guests Aglika Petrova and Svilen Nikolov. A smooth violin is at times reminiscent of Sacred Spirit and is again played live for the album. The mood here is mainly warm and friendly with some pleasantly contrasting moody corners between tracks. Drum loops and keyboard patterns are generally comfortable and although the arrangements hint occasionally at mystery - even becoming slightly bombastic with the operatic vocals and heavier guitar work - still Sleepwalker most frequently inhabits a restful new age territory where Dimo Vantchev's flute amicably fills in the melodies. The artwork for Flower Of Life makes use of computer generated imagery with two shining, metallic figures dancing against a yellow/blue sunburst backdrop. Titles are uncomplicated and credits on the CD highlight the various contributors from musicians to mastering. With clean guitars and cheerful synth work, Sleepwalker presents an optimistic, melodic sound with a sprinkling of owls, crickets, bells, thunder and the odd birdsong. The project is primarily the concept of Bulgarian musician Lyubomir Yordanov who composed and arranged all of the songs on Flower Of Life. In relation to the CD title the band is quoted as saying, "We believe that music is the language of the human soul and the love it gives us; it helps the flower of life in each of us bloom and grow. With this music you can relax, rest, meditate, reflect, think, build other worlds, change your spirits - to be sad, joyful, dreamy and inspired". New age fans who enjoy global sounds in their mix will be interested to hear this CD. Anyone looking for some live Native American flute sounds against a worldbeat backdrop. Review by "Paul Jury" (www.electronicmusicmall.com).

RATING:  7 / 10

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domingo, 25 de novembro de 2012

*. The Minstrel's Ghost .*

Album: Dream Things True (2011)
Genre: Prog Rock (Crossover Prog)  /  USA

US act THE MINSTREL'S GHOST is the creative vehicle of composer and multi-instrumentalist Blake Carpenter, a musician with a long past in various band projects who eventually decided that going solo was his best options in terms of pursuing his creative and musical ideals. "Dream Things True" is his debut album, and was released in 2011. The hour or so of music on this production reveals an artist just as fond of gentle ballads as of harder edged material driven by guitar riffs first and foremost, and a composer who tends to opt for more of a mainstream structure to his creations. The songs tend to be fairly predictable in development, structurally as well as musically. As such, this isn't an album that merits inspection if you're the kind of listener that have a constant need to be surprised to maintain interest in any given record. While listening through this disc my associations mainly stuck to a handful or so of artists whose material should be familiar to most. Styx and Rush most commonly, and for some reason or other Triumph was a band name that kept popping up in my mind when listening to this production too. On a select few occasions the material incorporates something of a Pink Floyd vibe too, and on one occasion Tangerine Dream was a bad that came to mind too. But mostly the material made me think about the first two artists mentioned, and for the latter of these their late 80's period first and foremost. The compositions themselves are fairly pleasant acquaintances throughout. The majority of them are dominated by vocal sequences, and while Carpenter's voice is a distinct one that won't have a universal appeal it is always a pleasant surprise to encounter a vocalist that is actually a good singer and know how to utilize his range and delivery to emphasize his strengths in that department. He comes across as a decent instrumentalist too, although I'll have to admit that the drums came across as somewhat less interesting. Not a key factor for the majority of listeners I suspect, but those who desire a few bells and whistles in that department will have to cope with the nice and steady approach on this particular album. Apart from that I found the more ballad oriented pieces to be somewhat less intriguing than the harder edged material. Material of a calmer and gentle nature are hard to create in a manner that makes them stand out from the plethora of similar material that has been made, and in this case I didn't find them to be substantially different or more interesting than the majority of ballads around. With one exception, the slightly Floydian tinged Creature of the Night. A piece with a strong and distinct atmosphere that gives rise to associations towards the dark and the night in an intriguingly pleasant and easygoing manner. The harder edged material obviously made more of an impact on me personally. With cleverly constructed themes pairing off darker toned guitars with wandering piano motifs and a mostly subdued symphonic backdrop as key features for the songs of this kind as central features. Frequently with a nifty bass motif providing a distinct foundation, occasionally with bass and keyboards combining to form effective initial phases for the main themes. There's also the mostly instrumental energetic flamboyance of a piece such as Future World that merits a special mention, this particular piece a one off that sounds pretty much like the shorter material made by Tangerine Dream in the White Eagle era, with guitars added in to enhance the contrasts. All in all this is a pleasant production. And while it may not be found on too many lists of the best albums released in 2011 it is a disc that merits a looksie. And I'd guess that people who generally enjoy the majority of the material released by the trio of Styx, Triumph and Rush should make out something of a core audience for The Minstrel's Ghost, in particular fans of the former two of them. Review by "Windhawk" (Prog Archives).

RATING:  8 / 10

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*. Тэм Гринхилл (Temps Greenhill) .*

Album: Колыбельная для ангела (2011)
Genre: Prog Folk (Acoustic/Minstrel/Russian Folk)  /  Russia

Natalya Novikova (Наталья Новикова), better known under the pseudonym of "Temps" (Тэм) or "Temps-Greenhill" (Тэм Гринхилл) singer, composer and poet, artist, art song and folk music. Temps are attributed to a number of performers-"minstrels", whose creativity has to do with RPGs and historical reconstruction.

Songs / Tracks Listing
01. Я опять уйду одна
02. Военно-полевой роман
03. Прочь от всех, по талому льду
04. Саламандр
05. Равноденствие
06. Моя госпожа
07. Жизни черновики
08. От любви до ненависти
09. Дом наш дремлет до весны
10. Горсть серебра
11. Скользящий шаг по лезвию клинка
12. Страж полночных врат
13. По холодным коридорам
14. Немного любви
15. Колыбельная для ангела
16. Элори для Квевеллина Сота

RATING:  7.25 / 10

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*. Guy Manning .*

Album: Akoustik (2012)
Genre: Prog Rock (Folk/Crossover/Symphonic)  /  UK

Take Guy Manning (acoustic guitar and vocals), Chris Catling (guitar), Kev Currie (guitar and vocals), Stephen Dundon (flute), Rick Henry (drums and percussion's), Kris Hudson-Lee (bass) Julie King (vocals and percussion's), David Million (guitar) and Martin Thiselton (keyboards and violin) and select twelve songs from Manning's stunning back catalogue, manipulate their arrangements to suit the Akoustik mood. The only brief for this recording being thus, you can only record parts that you could reproduce live, no overdubs, (the only caveat to this rule being that some extra vocals were added by Guy where some bands members were unavailable to record, something that one can forgive). When you do this, what does one end up with? Well, firstly you get to see a different side of the band; secondly you get a semi-live album, songs that the bigger Electrik band would not normally perform; thirdly and make no mistake of this music lovers, Manning offers up twelve absolutely stunning pieces that will ENTERTAIN. I, as you, will have heard other bands having tried this approach, the results at times being mixed, certain songs working well and others just failing to hit the mark. Manning has successfully managed to evade falling into this trap as all the songs here work on so many differing levels; these arrangements add another dimension to the original versions. This approach has been seen by many, both bands and fans as a means to an end until their latest release hits the market. If I was to sum up Akoustik, then I would make the following statement, "the album offers a perfect abridged document of their recording career with a twist". This is an album that will please his existing fans and bring on board a new audience. Both Guy Manning's music and vocal style lends itself to this approach where the lyrical prose really comes to life, this more than compensates for the perceived spring some of these songs may have lost presented this way. In saying that though, none of these songs have lost any of their power in presentation; in fact I certainly for one believe that these new arrangements take on a whole new life, displaying a mature character that is refreshing and rewarding. The annotated acoustic warmth is emotional, creating beautiful atmospherics which works on so many different levels. The stripping of music back to its most basic form airs all, for people to dissect, a nakedness that can be vulnerable, that can be painful, this is definitely not the case here. This music has strength and clarity, not embarrassed to display its vulnerability as it knows that it is only going to be embraced, knowing that it has power in its presentation. The guitar and keyboard themes are present throughout as one would expect, but the real star of the show is the vocals, this is something that I can't emphasise enough, which offers emotional gravitas pinpointing the themes of each song, each telling their own story. The music alone is enough to capture ones imagination, but with the realisation of the lyrics the depth and beauty of each song stands high and proud, whether it is just Guy or the harmonies of Julie King and co. The lyrical inflections are intelligent, must be heard stories that seem like long lost family members. The songs are lifted Tall Stories For Small Children, The View From My Window and his last opus Charlestown offering a romanticism that one can only dream of, colourful soundstages that one would die for. You can jump into this album at any place and be fulfilled; you don't need to be an aficionado to appreciate the creations. The real cleverness of his music though is that the more you listen the more you realise that there is definitely a very dimensional approach happening, highly layered and intricate passages that don't intimidate. Guy Manning for me is the master of this approach, an approach that he has been perfecting for the last thirteen years and an approach which has led to him creating thirteen stunning albums. Akoustik is a fascinating window into his world that will instantly convert those not in the know. The creation of a Manning album is more of an event than your ordinary run of the mill release as one is never too sure as to what one is going to be presented with. The only guarantee is that you can be safe in the knowledge that it is always going to be classy and that is in all honesty the magic of Guy Manning's song writing ability and why he is so revered by music lovers and no one and I mean no one tells a story like him. Ask me to pick a favourite track here and I honestly can't, as they all move me in different ways, well known songs that have return like the proverbial prodigal son. This is another Manning album that is getting massive thumbs up from this quarter. Do yourself a favour if you aren't already familiar with this band,jump straight into the pool and I will guarantee you will soon be swimming with a big smile on your face. 
Review by "John OBoyle" (www.seaoftranquility.org).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Vox Dei .* (Reissue)

Album: Vox Dei para Vox Dei (1974)(Reissue 1992)
Genre: Hard Rock (Prog Rock/Blues)  /  Argentina

1974 "Vox Dei para Vox Dei" (Vox Dei for Vox Dei) marked the momentary departure of guitarist, vocalist and main composer Ricardo Soule, who would come to Spain, where he lived for years...the artwork of this album always caught my eye for some reason (cover & back cover), where is seen the band on a stage, while themselves are their only spectators, in an empty venue. To some extent could be said that this record is weak, inferior to their former discs, and that would be perfectly right, though...Vox Dei, especially in the 70s, they always managed to deliver something, somehow; some tunes which always were satisfactory and enjoyable, or at least moving, for different reasons, even in their weakest moments. Listening more carefully to "Vox Dei para Vox Dei", one might finally find some obscure, sweet rock & roll tunes, namely 'Es necesario salirte a buscar', 'No hay nada más terrible que el maldito bong', 'La luz que crea', the Yes-like 'Mago de los cuatro vientos', 'Quiero estar seguro de vivir' or the Willy Quiroga's existentialist-sarcastic blues rock 'No, ni por equivocación'...the song ends in a Ruben Basoalto's drums solo ala John Bonham, and so the album ends, too. "Vox Dei para Vox Dei" is perhaps not the best disc of the band, and it's perhaps just another rock & roll metaphor -as the aforementioned artwork indicates-, about the loneliness of the artiste, who sometimes may be misunderstood or ignored, just like us. 
Review by "death metal doll" (Rate Your Music).

RATING:  7.5 / 10

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*. Absolute Priority .*

Album: Hunter (2012)
Genre: Progressive Metal  /  Italy

This is the 2nd time within the last few weeks that an album has come out of nowhere with no fanfare to blow me away. Not too surprising, I suppose, is the fact that both releases are on the upcoming Italian label Revalve Records. First we had Earthcry's debut album Where the Road Leads with all the special guest vocals to entertain us. This time we have another Italian band called Absolute Priority that has put out an excellent concept album called Hunter. The story loosely centers around an inmate on death row and his confession to a priest. Expect some melodic progressive metal that takes us on a very emotional journey that is often times theatrical in nature, vocals included. It is hard not be reminded of the Queensrÿche albums Operation: Mindcrime and Empire as lead vocalist Valerio Voliani will definitely remind you of Geoff Tate on numerous occasions. Some power metal finds its way onto the album on occasion and we definitely get some symphonic/orchestral/cinematic elements, too. This works very well with Valerio's often times soaring vocals. BTW, some of you may recognize Valerio as being the former lead singer of Icycore and he is also the current singer of the Gothic/doom band Motus Tenebrae that just released its 5th album on, you guessed it, Revalve Records. The songwriting is very strong and there are plenty of hooks to make us want to listen to Hunter over and over. The vocals, harmonies included, soar above the awesome guitar work. There are plenty of nice guitar solos. Being that Absolute Priority is an Italian progressive metal band you can expect lots of stellar keyboard work on Hunter. Massimo Grasso really is exceptional and I enjoy some of the modern keyboard sounds that help separate this album from the works of Queensrÿche I mentioned, earlier. Everything about the album makes me happy. Except: There are a few occasions where, surprisingly, the vocals are just a titch off, and this is troublesome considering the remainder of the album is super. I hear small segments on L.o.s.t., Bloody Tapes, Fear of the Night and Again for instance that aren't quite in tune. Perhaps you won't notice them, but I unfortunately noticed them. I have no choice but to give Hunter a lowish 4.5 star rating, but I will tell you that it is my favorite progressive metal album of 2012. Review by "Butterflyman" (Rate Your Music).

RATING:  8 / 10

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sábado, 24 de novembro de 2012

*. The Minstrel's Ghost .*

Album: The Road To Avalon (2012)
Genre: Prog Rock (Crossover/Neo/Symphonic Prog)  /  USA

The Minstrel's Ghost is a project that has as its founder Blake Carpenter, and he first came to my attention when he posted a couple of You Tube videos of this, the second recorded release under the project. I was struck not just by the music, but also by the sheer beauty of the artwork that accompanied it. If you get the chance, you really must take a look. Anyhow, when Blake asked me to undertake a review, I gladly accepted. The subject matter is, of course, those Arthurian legends of Ye Olde Englande (or Wales. It depends upon where you live!). Naturally, many people might be forgiven for wondering just whether the world is ready for yet another slab of such stuff - after all, in the 1970's, a certain Mr Wakeman entertained us all with his own take on the legend, and very successful it was too. Having said that, I personally find that, as good as it was back then, it has rather dated, which is not particularly surprising given that it utilised the cutting edge technology of the time, and this has moved on to the nth degree since. And Carpenter and his very able band of merry knights give us a wonderful musical scenario, steeped in the latest digital technology and soundscapes. As concept albums go, this one very deftly avoids the easy pothole of the silly and twee, not a particularly straightforward task given the subject matter. Instead, this is a mature and serious piece of art, and I particularly love the "death of Arthur" sequence that closes the album, with sensitive vocals and an expansive rock drama that recalls the best of classic rock. In fact, the only quibble I have is that I don't find the battle effects shortly onto Part Two to be wholly necessary, given the fact that the music itself is more than capable of projecting this. However, this is a minor moan on my part. On his debut work, Dreams Things True, Carpenter handled all of the instruments. On this, wisely for such an ambitious project, he has had help, although it has taken twelve full years from the time a short song called Avalon was written for it to come to fruition. Appearing with him are Zoltan Csorsz Jr (ex Flower Kings) on drums, Colin Tench (Corvus Stone & Bunchakeze) providing some wonderful guitar work, Troy James Martin (LeeAnne Savage) on bass, and Marco Chiappini (Gandalf's Project) contributing keyboard work. Having said that, Carpenter is really at the centre of all things, and the pleasant surprise that strikes you immediately is just how damn nice his rather distinct voice is - think Art Garfunkel in a prog setting (this is not a joke, by the way), and you won't be that far off. As mentioned before, the lyrics themselves tell a good story, not a twee one, and musically it is precisely the type of expansive, colourful, and symphonic progressive rock I love. Full of swirling keyboards and intricate guitar work, all backed by delicate and complex rhythm section which allow the story to flow along. If you are a fan of modern thrash, metallic, gloomy prog, then you should avoid this like the plague. If, however, you, like me, sometimes just like to sit back and allow an extremely pleasant piece of music to wash all over you, then I cannot recommend this highly enough. In addition, the cd is worth buying simply for the sumptuous artwork, provided by Ed Unitsky. If you go to the homepage for Carpenter, you can find a link to Unitsky's own page, and well worth a visit it is, too. To summarise, collaborator's at Prog Archives get sent a fair bit of music by artists to review. Some of it is exceptional, mostly it is very good, and you get the occasional stinker. This one falls well and truly into the excellent and very pleasant surprise category, and I have no hesitation in awarding this four stars for its sheer warmth and enjoyable listening experience. In fact, in closing, I can't help thinking that the old Maestro Wakeman himself, might, actually, rather enjoy this, and also think to himself.....this isn't that far off what I would have recorded if I was still that young bloke from the 1970's transplanted to 2012. 
Review by "lazland" (Prog Archives).

RATING:  9.25 / 10   **FANTASTIC**

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*. Metus .*

Album: Out of time (2010)(2Cd's)
Genre: Prog Rock (Crossover/Darkwave/Neoclassical)  /  Poland

In 2009 Metus released Beauty. Our reviewer said the following about that album: 'Metus is a one-man project from Poland providing us with a very dark kind of music. It's a search for the hidden light, the inner peace, faith and love versus the deeds of the flesh, development of spirituality and the desire to reach for the unknown. The man who created this material is vocalist and keyboard player Marek Juza. He recorded Beauty with the help of Krysztof Lepiarczyk (keyboards), Marcin Kruczek (guitars), Krysztof Wyrwa (bass), Grzegorz Bauer (drums) and Piotr Bylica (cello). Like I said, the music is dark, but on the other hand it sometimes has nice accents with acoustic guitars which cause the sun to appear on the horizon. The dark atmosphere of Beauty can be described best as a mixture of Paradise Lost, Tiamat and Moonspell'. For the review of the second release Out Of Time I easily can write down the same sentences. Composition wise Marek Juza 'copied' a large part of his previous album. This time he even recorded a double-CD to tell the story. One disc contains the music with English vocals while the second one contains about the same music, but now the lyrics are sung in Polish. However, the same musicians created the same dark and depressing atmosphere. Sometimes you get the idea that this music was written for a funeral. Therefore people who have the intention to commit suicide shouldn't listen to this album. This is honestly what I thought when I listened to the music of Mr. Juza, who dedicated this album to his beloved wife. I sincerely hope that she's still alive while you read this review. I think that if you love your wife so much you should try to write some cheerful music that will make her happy. I guess there are other ways to express your feelings towards your partner. However, the music that I heard on Out Of Time isn't bad at all, but you have to be in the right mood to appreciate this kind of dark music. The musicians that created it are very good on their instruments, but above all they know how to bring you in a depressed mood. At the same time, however, they know how to give you hope for better times as well. The acoustic guitar and piano parts bring you into a friendlier mood, but the music is always very mellow and slow; never a beat too much. While listening to the music, I didn't think of the abovementioned bands only, but the Australian musician Nick Cave came also to my mind. Does anybody remember his duet with Kylie Minogue? The song Where The Wild Roses Grow (1995) could have been taken from this album. It's the same kind of song with a very depressed feel. I hope in the future Metus will release some music that shows the bright side of life. There is a bright side of life, you know, and there's no reason why we shouldn't enjoy it on a Metus-record. Being depressed isn't that difficult, but being happy is a style of living and music can be a great help to live this way. After all, every cloud has a silver lining... Review by "Henri Strik" (www.backgroundmagazine.nl).

RATING:  7.5 / 10

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*. Cem Karaca & Dervişan .*

Album: Yoksulluk Kader Olamaz (1977)(+ 5 Bonus CD 2003)
Genre: Prog Rock (Folk/Anatolian Rock)  /  Turkey

Songs / Tracks Listing
01.Kerem Gibi
02.Bir Öğretmene Ağıt
03.Adilos Bebe
04.İşçi Marşı
05.Maden Ocağı
06.Sevdan Beni
07.Vay Kurban
08.Yoksulluk Kader Olamaz

EXTRA TRACK'S CD VERSION 2003
01.Kavga
02.Mor Persembe
04.Terketmedi Sevdan Beni
06.Mutlaka Yavrum
08.Niyazi

Line-up / Musicians
Cem Karaca / Vocals
Murat Töz / Bass Guitar
Taner Öngür / Guitar
Uğur Dikmen / Keyboards
Sefa Ulaştır / Drums

RATING:  7.5 / 10

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sexta-feira, 23 de novembro de 2012

*. Syrens Call .*

Album: Against Wind and Tide (2006)(EP 5 Track's)
Genre: Prog Metal (Symphonic/Neo Prog Metal)  /  France

I heard a lot of good things about Syren Call, but unfortunately I've never had the luck to listen to the first albums of the band, and I don't know why they had to change their first singer. But I can tell you something, her successor, Soraya Hostens, is an excellent vocalist. Well, I really like the music of their new MCD "Against Wind And Tide" and I have the best hopes for their upcoming new album, because with such compositions, for sure it should be "something". With Syrens Call don't expect any form of Symphonic music or Gothic stuff. Even if they have a female singer, the band plays a nice Progressive Metal. Sometime slow and a bit melancholic (like on "Your Soul Is Mine") or fast and heavy ("Run And Fall") the music of Syren Call is technical and not so "easy". So yes of course, it's not prog a la Dream Theater, but the numerous lines of "technical" keyboards are nice and the work of the two guitarists is good too. You'll be able to find great guitars soli with great catchy riffs and the fact that the music of the band is Prog Metal with a female vocalist, is really original. Finally we can find a band that understood that female singers are a magical plus in Metal if you don't do some bad copycats. This MCD is nice and the sound is really good but I have to note that the band chose (one more time… yes, Wrathchild you will be happy to read this line ) to cover "Enjoy The Silence". I don't know what's happening with this song, maybe that Depeche Mode is promising some royalties to all the bands who want to cover it but even if the "Prog" cover of Syren Call is really cool the metal bands will have to stop with this cover, it's becoming boring yes ! This MCD, is a really good introduction to the music of the band but above all, it's a good way to see that the new singer of Syren Call is a really good vocalist with a really personal and original voice. Let's wait the new upcoming album of course but I have the feeling that we will hear a lot of good things about this band (now I understand why they were featured in the line up of the Female Metal Voice Festival II in Belgium). Review by "Jeff" (www.metalstorm.net).

RATING:  7.75 / 10

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*. Laza Ristovski .*

Album: 2/3 (1983)
Genre: Prog Electronic (Exp./Space/Ambient)  /  Serbia

"Two Thirds" is the second Ristovski's album with which he tried to follow-up the commercial success of the debut "Merge". Laza actually had an idea to record a live album, but due to poor technical results of live material, he opted for studio session instead. Only the last two tracks - "Rock 'n' Roll" and "Blues" survived from these concerts and they captured the strong audience response to Laza's keyboard acrobatics (at one moment a voice from the crowd is heard yelling "Laza, you're God!"). Despite the silly misnomer titles, both tracks contain a boogie 12-bar standard done on Hammond and assorted synthesizers. It is a decent and technically flawless Hammond organ performance but nothing very special for a connoisseur's ear. The opener "Pulsing Star" continues the positive, light melodic Vangelis-meets-Jarre style from the previous album, and "Domina II" is a redo of the same title from the debut, with slightly deeper sound, like performed on a lower octave. The only progress on this album is found in the longest title track, which has dark overtones and drum machines similar to the works of Klaus Schulze. A funny electronic rhythm detail is heard in a simple, rather primitive high-pitched Casio synth toy-like rhythm program. Not that it particularly spoils the whole composition, but its absence would make the sound much better, for sure. 
Review by "Seyo" (Prog Archives).

RATING:  7 / 10

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*. Passion Play .*

Album: The Final Act (2012)
Genre: Gothic Rock (Darkwave/Prog)  /  UK

Songs / Tracks Listing
01.Saints
02.Name No Names
03.Drift
04.Sight For Sore Eyes
05.Falling Upwards
06.The Lesser One
07.Down To You
08.Get What You Ask For
09.Feel Fire
10.Stop Me
11.As Above, So Below
12.While You Were Sleeping
13.Bullet

RATING:  7.75 / 10

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*. Antimatter .*

Album: Fear of a Unique Identity (2012)
Genre: Prog Rock (Crossover Prog/Alternative)  /  UK

Songs / Tracks Listing
01.Paranova (6:06)
02.Monochrome (5:24)
03.Fear Of A Unique Identity (5:28)
04.Firewalking (8:04)
05.Here Come The Men (5:06)
06.Uniformed & Black (4:19)
07.Wide Awake In The Concrete Asylum (6:47)
08.The Parade (3:22)
09.A Place In The Sun (4:36)
10.The Parade (Remix) (4:25)
11.Fear Of A Unique Identity (Acoustic Mix) (4:37)
12.Here Come The Men (Violin Mix) (4:57)
13.Firewalking (Remix) (5:24)
14.A Place In The Sun (Demo) (3:32)
15.Monochrome (Alternate Demo) (5:40)

Line-up / Musicians
Mick Moss / vocals, guitar, bass, synthesizers, piano, programming, samples

Guest musicians:
Colin Fromont / drums
Vic Anselmo / vocals
David Hall / violin

RATING:  7.75 / 10

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