*. Michael Mayer & Dean Rouch .*

Album: Face of the Wind (1983)
Genre: Prog Rock (Crossover/Symphonic/Art Rock)  /  USA

Songs / Tracks Listing
01.Face of the Wind
02.You're a Whore
03.Mandolin Moves Me
04.Power Prayer
05.Island Hopper
06.Ballada Alla
07.Fly
08.Pentagon Prayer

Line-up / Musicians
Micheal Mayer / Keyboards, Flute, Percussion, Background Vocals
Dean Rouch / Keyboards, Flute, Vocals, Percussion, Guitars, Mandolin, Violins
Guest:
Judy Hanna / Double Bass (Track 8)
Joe Ferrerira / Drums (Track 1)
John Zane / Drums (Track 2)
Libby Rouch Shinniman / Background Vocals (Track 6)
Ronda Crofoot / Background Vocals (Track 5)

RATING:  7.75 / 10

.

*. Grace .*

Album: Blind (1981)
Genre: Prog Rock (Symphonic/Heavy Prog)  /  Sweden

Songs / Tracks Listing
01.Paradiset
02.Blind
03.Glädjens rus
04.Leva eller dö
05.En Dag I Skolan
06.Staden
07.Summer Dreams
08.Örnen

Line-up / Musicians
Bernt Ek / bass, vocals
Dick Greuz / guitars
Henrik Thall / keyboards, Piano
Jan Lundberg / drums
Jan Morin / guitars
Mikael Junell / Organ, Synthesizer, Clavinet

RATING:  8 / 10

.

*. System .*

Album: On the Other Side of Time (1977)
Genre: Prog Rock (Hard Rock)  /  UK

Here we go again, a super rare album - that just isn't anything to bother with. It has all the right ingredients visually speaking: Cool black cover with intricate design, private press from England, interesting song titles. But it's mostly plain rock - maybe like Shaftsbury or Scarecrow, but not even that interesting honestly. There were a couple legitimate exciting progressive moves, but before I could even look up, they quickly faded away. 
Review by "ashratom" (Rate Your Music).

RATING:  7.25 / 10

.

*. Rajna .*

Album: Babel (2013)
Genre: Neofolk (Darkwave/Neoclassical/Etheral)  /  France

Following the trail of Babylon, Rajna’s new album ‘’Babel ‘’ is inspired by the cradle of our civilization, Mesopotamia. Rajna continues its musical journey and its quest of new and yet undiscovered landscapes. Babel is a timeless and introspective masterpiece. Jeanne’s crystal-clear and powerful voice is stronger and emotion filled than ever. The magic of Jeanne’s own language world and this such particular voice tone are transporting the auditor into far away dream lands. The musical composition of the album is sometimes very complex but also sometimes very minimalistic in order to focus only to what is the most essential and authentic in the heart of the songs. Fabrice once again explores a diversity of ethno instruments such as the duduk, the ney, the bendir, the saz, the buzuki, the whistle, the symphony, and of course its legendary and well known santoor. Babel is a dreamlike trip within the hanging gardens of Babylon, ‘’ The Garden of Babylon’’. It is a shrine within the myth of Babylon from which following compositions have emerged: « Ziggourat »,« Voyage of the Magus », « Hanuz Nist ». Songs like the oriental flavoured ‘’Na Traya’’ or the celtic inspired ‘’The Wedding’’ and‘’And leaves are falling…’’ reach a peak of intensity using this such particular and timeless dream language of Jeanne. Babel is also an album which has been conceived in the spirit of charring and collaborating with artists such as Olaf Parussel from sToa. This has lead to the wonderful interpretation of the song ‘’Offering’’, the common work on the song ‘’The Wedding’’ (which was originally conceived as soundtrack for the German documentary ‘’Barbarossa’’) and for the cover version of the sToa song ‘’Hanuz Nist’’ which Rajna has reinterpreted with highest intensity. This collaboration constitutes the foundations of a strong friendship between these two artists. With ‘’Babel’’ Rajna is back at its best with compositions of a rare purity and intensity, going straight to the heart of emotions. (http://rajna.bandcamp.com).

RATING:  8 / 10

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*. Gruppo D'alternativa .* (Reissue)

Album: Ipotesi (1972)(Reissue 2007)
Genre: Prog Rock (Eclectic/Rio Avant Prog/Canterbury/Folk)  /  Italy

Some consider this album to be the first Rio recording. Released in 1972 "Ipotesi" was a concept album(Rock Opera) about the singers friend who died in a car crash. This album represented just a part of the Rock Opera that was presented on stage. The band was very influenced by Miles Davis and loved to improvise which was an important part of their live show. The bassoon player would go on to play for STORMY SIX. I've noticed a few people aren't into the vocals but i love them. Powerful and unique yet you know they're Italian. "Quando Le Parole" opens with spoken words,soon another person is speaking at the same time. The music kicks in after a minute then settles quickly. It builds to the end. "Incidente" opens with vocals and a pastoral soundscape.Guitar and drums join in before a minute as the tempo picks up. The vocals are outstanding here. Organ only after 1 1/2 minutes. "Infanzia" is organ and flute lead early. The tempo picks up after a minute as piano and a fuller sound joins in. It settles 2 minutes in with strummed guitar and flute. The vocals after 3 minutes are reserved. "Voglia Di Essere" kicks in right away with drums and organ standing out. It settles with guitar and vocals. Flute 1 1/2 minutes in. Organ follows as vocals continue. The tempo picks up then we get this jazzy section before 2 1/2 minutes. It's brief though as it settles again with vocals before picking back up one more time. "Solitudine" opens with faint sounds before the vocals arrive before a minute. The tempo picks up a minute later before settling again. It kicks back in at 3 1/2 minutes,electric guitar too. Organ takes over late. "Appare La Forma" is an instrumental that sounds pretty incredible with the guitar,piano,drums and bass standing out. Organ joins in as well. It ends as it began. "La Tua Lotta" opens with flute,light drums and piano as vocals join in. This is laid back. The tempo then picks up. Love his vocals(did i mention that?). It settles as contrasts continue. Organ after 3 1/2 minutes followed by a calm. The tempo picks up 5 minutes in before settling again with some nasty organ before 6 minutes. And yes it picks up one more time. "Messaggio Libero" opens with acoustic guitar and reserved vocals. The instrumental work here gets twisted, maybe avant is the word.It builds with electric guitar. Great section. "Ipotesi" ends the album with acoustic guitar melodies. I appreciate Todd's enthusiasm for this album and thank him for the recommendation. Review by "Mellotron Storm" (Prog Archives).

RATING:  7.75 / 10

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*. Medusa .*

Album: Calling You (1977)
Genre: Heavy Prog (Symphonic/Hard Rock/Krautrock)  /  Germany

Songs / Tracks Listing
01.Go Kids Go
02.The Change
03.Hey Rock'n Roll
04.Medusa Calling You
05.QQ 10

Line-up / Musicians
Volker Kappelmann / vocals, guitar
Ingo Klick / keyboards
Norbert Langensiepen / guitar
Peter Bölling / bass
Detlev Orthey / drums

RATING:  7.75 / 10

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*. Kharmina Buranna .*

Album: Seres Humanos (2013)
Genre: Prog Rock (Symphonic Prog)  /  Peru

"Seres Humanos" continues in the same path as their debut, though they aren't as pointedly retro, and their sound has been updated ever so slightly. While the analog keyboards and production are still in full force, the composition style reminds me of the best bands of the early 90s. Gone is the blues rock, and in its place is a more stately sound with added female vocals. I hear a cross between Quaterna Requiem with Solstice in many places (though there is no violin). I found their new album no less enjoyable than the debut, despite a conscious move away from the early 70s style. The compositions are multi threaded and consistently engaging. Kharmina Buranna has certainly put forth a strong argument that they may be the best pure symphonic progressive rock band from South America today. Review by "ashratom" (Rate Your Music).

RATING:  8 / 10

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*. Long Distance Calling .*

Album: The Flood Inside (2013)
Genre: Prog Rock (Post Rock/Crossover/Psych.)  /  Germany

The album opens with instrumental ‘Nucleus’ which sets the tempo for the rest of the record, but it also proves that despite the changes Long Distance Calling are still absolute masters of creating a “combination of cool and heavy riffs with melodies that come without any kitsch”. The drumming is tense and restless, the melodies simply make you sway your head in appreciation as they come on and bring to mind the classic prog rock legacy. ‘Inside The Flood’ is the first song with vocals and if vocals could fit anything like a glove - they simply do. The idea that brought Marsen on board was to have a timeless rocking voice in a Faith No More type of fashion, which he undoubtedly has, and it just flows beautifully, complimenting melodies. Opening of ‘Tell The End’ somehow reminds me of A Place To Bury Strangers, it has this certain distant, ominous feel to it. And again the classic, pure rock voice carries the song, mighty chorus adding to its power. ‘Welcome Change’ features guest vocals from aforementioned Cavanagh and Carlssen, bringing indeed a bit of an interesting change. And then there’s ‘The Man Within’, mysteriously opening with Buddhist “Our bodies are given life in the midst of nothingness. Existing without nothing is the meaning of the phrase ‘form is emptiness’” and progressing to a feast of mighty riffs overtaking Marsen’s voice, indeed as if he was sinking under flood waves. Two songs that really stand out for me are ‘Ductus’ and ‘Waves’. They both have a meta text within them and they truly prove that Long Distance Calling are open to experiments, innovations and influences. Ductus in linguistics refers to “qualities and characteristics of writing or speaking instantiated in the act of speaking or the flow of writing the text. (…) Unlike rhythm, ductus is the performative quality that emerges by actuating the metrically arranged language in voice. It is then the specific style and character of the language as it exists within time”. The opening spoken monologue gives the example of the metrically arranged act of speech including some profound questions about life (“Why are some things kept from our vision? Is life a puzzle?”). That ductus, focused more on pitch and tone, is then overtaken by music’s tempo and rhythm. ‘Waves’ on the other hand sound like an actual scientific experiment on sound. Man’s voice teaching about how sound waves work sounds like an american 50’s educational documentary. At the same time single words “waves” and “sound” float between left and right speaker, between the right and left ear, making you appreciate a) your sound system and b) the ability of our ears to listen to sounds. It’s an amazing glorification of music and the fact that we can make it and listen to it. ‘Waves’ also features my absolutely favourite melody of the whole album. Judging from the amount of words I just produced - I genuinely love The Flood Inside. Long Distance Calling continue to innovate their music and the fact that they’re open to collaborations proves that they’re not afraid to seek inspiration that can bring even more interesting outcomes. Their compositions have this beautifully effortless flow to them, at the same time giving the listener a lot to think about. What I also really appreciate is how the theme of flood continues through the album, giving it a concept edge. One thing is certain - I’m excited to hear hear how the band will continue to grow and I absolutely can’t wait to see them live again. Review by "Magda Wrzeszcz" (http://echoesanddust.com).

RATING:  ?????????????

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*. Bulbous Creation .* (Remaster)

Album: You Won't Remember Dying (1970)(Remaster 2011)
Genre: Prog Rock (Heavy/Psych./Blues/Hard Rock)  /  USA

Talk about Bulbous Creation is the same as talk about a great finding. A relic found in the middle of the limbo and rescued by a small label called Rockadelic. It’s estimated that You Won't Remember Dying had been recorded between the late sixties and early seventies. However, the produced material remained shelved. It just got released in 1994. It’s very hard to find more information about the band. It’s speculated that they are from Kansas, United States. Just it... Not even the names of the members are known. It includes the record cover. The sinister picture was drawn by Rockadelic. Too bad this album wasn’t released with the dignity that Bulbous Creation deserved, because the band showed great skills and deserved a professional sound quality. Those guys play a dense Hard Rock pulled to the Heavy Psych. With a very dark atmosphere, it’s possible to see a little of Black Sabbath in their early days. The lyrics are also heavy, covering topics such as Vietnam War, heroin and Satanism. Still, some moments are lighter, with smooth Blues passages. Apparently there are two vocalists, the first one with a more severe and sober tone and the second one with an acute and nasal voice. I enjoy more the first one. The second one exaggerates in certain screams and screeches your brain. From the peaceful Stormy Monday's Blues, trough the tenebrous Heavy Psych from Satan, You Won't Remember Dying is a treat, a disc that unfortunately was hidden for a long time among dusty tapes and old recordings. But, around 25 years later, it had the deserved attention. Better late than never, is not what they say? Review by "nathanpetrin" (Rate Your Music).

RATING:  8 / 10

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*. Red Nova .*

Album: Sharp Colours & a Taste of Dust (2013)
Genre: Hard Rock (Crossover/Alternative)  /  Sweden

Red Nova is a trio from Sweden that with small means delivers music of great proportions. The music has it´s roots in the rock genre,  but the band takes the arrangements in different directions and invites the listener to a journey filled with adrenaline which is hard to resist. (www.rednova.se/)

Songs / Tracks Listing
01.T-Rex
02.Dandelion Child
03.Three Seconds
04.Seven Days
05.Fading Memories
06.Appearances are Deceptive
07.Completion
08.Puzzle
09.Mindless Robots
10.Confusions
11.Last Time

Line-up / Musicians
Pär Eriksson /  Vocals, Guitar
Tobias Ohlsson / Bass, Backup vocals
Simon Hjortek / Drums, Backup Vocals

RATING:  ???????????????

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*. Sgt. Sunshine .*

Album: III (2013)
Genre: Stoner Rock (Heavy/Psychedelic)  /  Sweden

Is a Sweden-based power trio which delivers a well-known mix of ´70s heavy rock, acid influenced improvisational jams and psychedelic atmosphere. Their debut album: Sgt. Sunshine S/T gain excellent reviews on several rock magazines all around the world coming up as one of the best band of the year 2003 on the STONER ROCK magazine. Their particularly sound by self-made fuzz pedals in a mixture with the great song melodies and esoteric lyrics makes SGT SUNSHINE a great listening experience. The unabashed delivery of groovy power, the junky sound, the Latin-like drums sensibility and the dirty guitar fuzz make this band irresistible. (www.facebook.com)

RATING:  ???????????

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*. Justin Hayward .*

Album: Spirits of the Western Sky (2013)
Genre: Soft Prog Rock (Acoustic Folk/Pop)  /  UK

Legendary Moody Blues singer and guitarist Justin Hayward will release a new solo album titled Spirits of the Western Sky on February 26 via Eagle Rock Entertainment. It is his first solo album since The View From the Hill in 1996. Hayward's 40-year career with the Moody Blues includes penning and singing such all-time classics as “Nights In White Satin,” “Tuesday Afternoon,” “Question,” “The Voice,” “Your Wildest Dreams,” and “I Know You’re Out There Somewhere.” He recorded his new album in Genoa, Italy and Nashville, Tennessee, creating a mix of songs that emphasize his traditional strengths like “One Day, Someday,” “On The Road To Love,” and the album opener “In Your Blue Eyes" with three tracks that explore country and bluegrass influences - “What You Resist Persists,” “Broken Dream,” and “It’s Cold Outside of Your Heart.” Academy Award-winning composer Anne Dudley provided orchestrations. “Anne [Dudley] is one of the true greats,” Hayward says in a press release, “in the same rarefied class of orchestrators as Peter Knight, who was such an inspiration in my early Moody Blues days. I’ve worked with Anne on different projects over the years and it’s always a joy . . .when she is arranging, all the studio musicians know it’s going to be wonderful." Hayward also worked with Kenny Loggins on a track titled 'On the Road to Love,' which they wrote after a chance meeting. "He and I were both on the road and staying in the same hotel," Hayward recounts. "We had a great day playing guitar together and we came up with ‘On The Road To Love’. Kenny plays and sings on the track with me." The result is one that Hayward feels represents an artistic peak for him. "This album is a labor of love. It’s been my whole life for the last few years," he states. "I know we all have many choices nowadays and I thank everyone who gives my album a listen and brings these songs into their collection. Every track is truly from my heart." Review by "Sterling Whitaker" (www.examiner.com).

RATING:  7.75 / 10

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*. Graal .*

Album: Tales Untold (2007)
Genre: Prog Rock (Crossover/Hard Rock)  /  Italy

Graal from Lazio - Italy is a relativly young band formed in 2004 and releasing so far 3 albums. The second offer from 2007 named Tales untold is their best one from the three and a good example of how must sound heavy prog these days. Tight musicianship, great guitar riffs and solos, some good keybords melted in the sound and the drums is where it belongs, in the end a good towards great release from this little known italian band. With influences from masters as Uriah Heep or Deep Purple, Graal manage to combine those influences with their own twists and creating a very solid album with plenty of memorable passages. Pieces like After, Two in a world or the semi instrumental Fairyland are total winners who recall of '70's great prog period when those bands mentioned above were at the peak, nice crafted arrangements, solid sound and a quite good vocalist on top.All in all a very worthy album that desearves attention from prog listners, specially for those who are more into heavy prog , Uriah Heep, Deep Purple, Votchi from Czech Republic and maybe others. Review by "b_olariu" (Rate Your Music).

RATING:  7.75 / 10

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*. Kevin Ayers .* (Boxset 2012)

Album: The Harvest Years 1969-1974 (2012)(5 Cd's Boxset 2012)
Genre: Prog Rock (Canterbury Scene/Psych./Eclectic)  /  UK

The Soft Machine, not long after recording their first album and touring America, began breaking up -- just the first in a long series of personnel changes and subsequent new directions that formed one of art rock's winding sagas of the '70s. Kevin Ayers was the first to leave, mostly because of that American tour, and he soon became one of the first acts to release music on Harvest, a new progressive label from EMI that promised to offer the best and brightest in the new vanguard of British rock. Ayers recorded and released five albums over the next five years, all of which appear on separate discs of The Harvest Years 1969-1974, and each of which comes with bonus tracks (most of them entertaining BBC sessions). Ayers was quite the chameleon during this time, beginning with a set of psychedelic-pop whimsy akin to Syd Barrett (Joy of a Toy) but soon detouring into free-form epic prog (Shooting at the Moon, with young hotshot guitarist Mike Oldfield), and later arriving at a surprisingly straight-ahead vision of bluesy pop (Bananamour). The set offers the albums in the best sound they've ever been heard, and the bonus tracks are excellent as well. The unavoidable caveat comes, though. Why not include all the bonus tracks from previous editions, especially when they include a track actually recorded with Syd Barrett? (That would be "Religious Experience (Singing a Song in the Morning)," available on the 2003 Joy of a Toy reissue.) Quibbles aside, this is a hugely entertaining set from one of art rock's most beguiling figures. Review by "John Bush" (www.allmusic.com).

RATING:  8.25 / 10

.     .     .

*. Overload .*

Album: Pichal Pairee (2009)
Genre: Prog Rock (Eclectic/Exp./Metal/Art Rock)  /  Pakistan

Rock music from Pakistan is pretty much an unknown territory for me, a trait I probably share with most people in western Europe. And discovering this act is somewhat of a find. Not that this is exceptionally brilliant music from undiscovered musical geniuses or something like that though. It is a good album though, and Overload does provide western listeners with a much more sophisticated mainstream-oriented affair than what we're used to as far as popular music goes. And the aspect of this venture that may dismay a few potential fans is the mainstream foundations in quite a few of the tracks. And especially discovering it after being enthralled by the fireworks of a rhythmic display on the first few listens. But when venturing deeper into these efforts many levels of more or less subtle refinement starts appearing too. Besides the obvious effects used - contrasting, hard metal-inspired riffs first and foremost - symphonic inspired textures and fusion elements will be discovered by the avid listener. The bass lines in particular a fine example of the latter. Space-tinged themes is another feature neatly incorporated into this effort, blending in well with riff patterns not totally unlike Rush at times. Atmospheric guitar soloing and keyboard textures closer to the vintage neo-progressive school are other elements worth noting. And while the overall result is an album just as much dominated by mainstream-oriented musical displays as it is by world music and art rock, it is a nice example of a refined rock effort of a progressive nature, albeit on the light side as far as this stylistic expression goes. Review by "Windhawk" (Prog Archives).

RATING:  7.5 / 10

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*. The Last Adam .*

Album: The Last Adam (1980)
Genre: Hard Rock (Prog Rock/Folk)  /  USA

Lots of variety on this excellent custom Florida obscurity. For starters hardrock buffs will definitely salivate over driving cuts like ‘Receive It’, ‘Trips’, and ‘Remember That Name’, all of which register high with loud guitar. ‘Dance Cloud’ is acoustic and carefree with progressive overtones. Some melodic middle-ground rock and a few acoustic ballads fill out the lp. The spacey synthesizer is a nice touch adding that progressive edge here and there. Flute, French horn, and flugelhorn solo passages fit right in. And a most expressive lady passionately belts out the lead vocals. Would have been a perfect candidate for the Tunesmith label – production is certainly up to par. Real striking cover of horse and rider with flaming sword emerging from the clouds. Back cover and label both say “The Salvation Army” – not sure if that’s the album title or label. (The Archivist by Ken Scott, 4th Edition).

Songs / Tracks Listing
01.Receive It
02.Resist The Devil
03.Any Old Music
05.Washed In The Blood
06.Dance Cloud
07.Letter To The Devil
08.More Much More
09.Trip’s
10.Remember That Name

RATING:  7.75 / 10

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*. Fiaba .*

Album: La pelle nella luna (2012)
Genre: Prog Rock (Medieval Folk/Prog Metal)  /  Italy

Oggi recensiamo il lavoro dei Fiaba: "La Pelle nella Luna", un quasi concept dai forti colori medioevali misto a un sound cupo che ricorda per alcune atmosfere i Tool, Fates warning... ma aspettate!!! Ci tengo a precisare che questo disco non è progressive, è più una sorta di insieme di stornelli (dal sapore medioevale) con inserti che hanno l'intenzione di ricordare le ritmiche mid-beat dei Megadeth e dei Metallica (soprattutto nel brano "L'Inquisito"). A dire la verità sono stato titubante nel recensire questo disco, sia perchè il genere è poco attinente con il mondo del metal, sia perchè trovo che sia troppo audace, quasi un esperimento artistico molto personale che, come succede spesso nella scultura, a volte esce dagli schemi ma non capisci cosa vuole dirti. Io non so dirvi se il disco mi piaccia o no, a dire il vero ho fatto molta fatica ad ascoltarlo due volte, quindi vi dirò unicamente quelli che secondo me sono i punti di forza di questa band e quali sono invece i punti deboli: per farvi un'idea infatti dovete assolutamente ascoltare il cd, così da avere voi stessi l'ultima parola. Sono certo che dividerà moltissimo critici e recensori, come del resto il pubblico. I punti di forza: Sicuramente non è facile concepire una storia, trovo infatti un punto di forza nei testi, nel tentativo di cantare in italiano e di sperimentare la nostra lingua non semplice da musicare. La storia, incentrata sui lupi mannari, è credibile, inserita nel giusto contesto musicale, centrata nel discorso, tant'è che molte delle parti strumentali seguono il testo nelle intenzioni e nelle atmosfere. I brani acustici riportano l'ascoltatore nella natura, di fronte a un fuoco e un menestrello che narra le sue storie. I punti deboli: Sicuramente non possiamo parlare di brani musicali, ma più di una forma teatrale musicata, dove la musica diventa secondaria. Questa è chiaramente una scelta (viste anche le discrete capacità della voce che è il vero punto di forza del disco), ma è anche, a parer mio, un grosso errore, che porta l'ascoltatore a non poter godere di quasi nulla a livello musicale. Mancano arrangiamenti, strutture armoniche, e spesso la voce segue la tonica dell'accordo inserendo frasi all'interno delle battute che non sempre riescono a contenere le parole metricamente. Le chitarre inoltre non suonano, hanno un sound acerbo. Ribadisco che sto parlando di una mia opinione, venendo io dal thrash e dal progressive, mi sarei goduto molto volentieri un qualcosa anche a livello strumentale, capace di intrecci con la voce e magari giri meno risentiti e ripetuti. La produzione è deludente, la batteria scarna, quasi sembra triggerata e priva di dinamiche. Il mix (per quanto molto pulito) è freddo. Un piccolo appunto sulla dizione, che risente della meravigliosa regione di provenienza della band. Purtroppo salta all'orecchio e distoglie dalla storia. Tirando le somme apprezzo molto il tentativo sperimentale di questa band, che pecca di forma e spesso utilizza riff e giri un po' risentiti su un genere musicale che secondo me non gli appartiene molto. E' sicuramente però un progetto interessante per quello che si cela dietro, quello che non è ancora espresso in maniera consapevole secondo me mi farà ricredere in futuro. Recensioni di "Giacomo Paradiso" (www.italiadimetallo.it).

RATING:  7.25 / 10

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*. Neal Morse .*

Album:  Live Momentum (2013)(3Cd's)
Genre: Prog Rock (Symphonic Prog)  /  USA

Utterly speechless... I am speechless!!! When will the momentum stop ha ha. Neal Morse has surely brought the Momentum literally once again. Out of all the live dvds of Morse I can safely say up to this point that this one might be the best (still debatable though). There is one matter for sure, the guys who made the tryout contest are insane. This is probably the most technically talented band Neal has ever put together. He himself proclaims, "Sick... these guys are sick!" I couldn't agree more. The guitar tone and thickness is the best I've heard yet on a Morse live release (both guitarists are insane and playing Petrucci Musicman models interesting ha ha) Another thing I notice is Morse's vocals are some of his best yet on a live release too. He has always done a solid job, but I think here he really shines above the other live releases. And everyone in the band sings too (even Mike does) and sounds amazing. Now for the setlist, All the tracks are great and it would take me forever to get through each one, but I'll share some highlights. Author of Confusion was awesome especially the the four part vocal part, they totally killed it there. Of course, the last minute is where Mike tears it up and it's awesome. Thoughts pt.5 is crazy hard here, its like as hard as death metal, but it's prog. So heavy and wonderful to headband to ha ha, I love the conviction in the Testimony segment they play, Neal shows his passion and totally conviction at the end of wasted life. That part was so powerful (thank you Neal for your heart, I will always admire and respect you). After that Neal goes into the heavy Sola Scriptura material with the Conflict. To be honest I was totally blown away by this performance, I knew it would be awesome, but wow!!! The three guitarists brought such a heavy tone, it was crazy. The jazz segment in that song is a real treat and surprise, but I won't spoil it. The ? segment is wonderful too to say the least. World without end the last epic played is another highlight. A big surprise was the short cover track they perform Crazy Horses (thanks Neal for letting Mike do this, it really was fun!!!) Mike sang it and Neal was on drums here, a fun little song. Sing it High has a cool improve, jam playful section between the band members, another cool moment as well. My only complaint is the sound could be a bit grainy and rough at times. Once in a while it sounded like the amps were blown too, but that's not a mixing problem so (Amps couldn't take the awesomeness maybe ha ha). Well if you are a Morse fan, it's a must. This is by far the most technical live performance I've seen and I have all his live dvds and seen him once live too so. Neal is truly truly a gifted musician and songwriter. His skills are from the World Without End (yeah I just did that sorry ha ha) there is no other explanation. Truly a blessed guy along with the phenomenal musicians he would not have been playing with if he was not such a classy guy with the audition thing. Morse you are such a good example:) and the usual crew of Randy and Mike nail it too with their out of this world skill and talent too. Morse is such a fun guy to watch and it's always an out of this world experience to watch and listen to him. Beyond the skill, he is a passionate and real showman pouring out his heart with vulnerability. And man, he's just so much fun to watch, he gets into the music along with the band. I got the blue ray version too and I recommend it the picture is clear and concise (except on some of the cameras they used, I guess that's another small gripe I have) Buy a blue ray player it's worth it. I converted to the blue ray life a year ago and it's sweet (even buying some blue rays even though I had the movie on dvd ha ha). But yeah blue ray is the real deal, so there's my rant on that too. Thanks Neal for going to the trouble of granting us blue ray freaks our wish, I really appreciate it:) Also included is the full show on 3 cds, packages very nicely in a proggin' mega pack!!! Well the verdict, to say the least this is a masterpiece. Highly recommended. Sure brightened my Friday night. I even had a friend watching it and he really enjoyed it. We might have another person join the family and be a fellow brother in prog ha ha ha. So tight!!! Well thanks again and again Neal Morse for everything. Thanks for this release:) Review by "AlexDOM" (Prog Archives).

RATING:  ???????????????

.     .     .

*. Rosalino Cellamare .*

Album: Dal nostro livello (1973)
Genre: Soft Prog (Folk/Pop/Rock)  /  Italy

Songs / Tracks Listing
01.I bimbi neri non san di liquerizia
02.Era la terra mia
03.Il mio papa' ed io
04.Disegno libero
05.Il carrarmato disarmato
06.La grande citta' industriale
07.Quelli delle medie
08.Alla fine della scuola
09.Da grande faro' il maestro
10.La scuola che vorrei

Line-up / Musicians
Rosalino Cellamare / guitar, piano, vocals
Italo Cellamare / organ, backing vocals, flute
Tita Bonifico / drums, bongos, background vocals
Daniele Bergatin / bass
Patrizio Diana / acoustic guitar

RATING:  7.5 / 10

.

*. Circle Of Moebius .*

Album: Elegy for a Broken Life (2012)(EP 7 Track's)
Genre: Prog Metal (Gothic/Rock)  /  Italy

C’è qualcosa di molto profondo e spirituale, quasi metafisico, in questa nuova release curata dai romani Circle of Moebius. Qualcosa che colpisce e comunica sensazioni di drammatica tensione emotiva, lasciando intuire un percorso tematico probabilmente difficile e dai risvolti controversi, che forse, proprio per queste ragioni, viene volutamente solo sussurrato e tenuto quasi un po’ nascosto. Già conosciuto in occasione del precedente demo del 2008, il gruppo del chitarrista Paolo Salvati non sorprende nel rivelarsi abile manipolatore di una vasta gamma di sonorità, spaziando a cavallo tra ambientazioni gothic, spunti heavy dark e preponderanti influenze progressive.
Racchiuso in poco più di mezz’ora di durata, “Elegy For a Broken Life” rappresenta l’evoluzione di un progetto musicale perseguito con costanza e dedizione sin dal 2005 e giunto, tra innumerevoli cambi e rimaneggiamenti (apprendiamo ad esempio, che la line-up presente sul cd non è già più attuale), al definitivo compimento solo in questi primi mesi del 2012. Sette anni per definire le coordinate stilistiche di un’idea dalla struttura complessa e meditata, in cui poter apprezzare un valore compositivo di ottimo livello ed un’attenzione per i risvolti concettuali assolutamente pregevole e significativa, tanto da raggiungere la propria sublimazione artistica in un ambizioso e ricercato concept album. Malinconico, suggestivo, spesso quasi oscuro, il cammino descritto dall’opera lega tutte le tracce in un unico flusso narrativo, comunicando sensazioni che dialogano con la parte più sensibile e nascosta dell’animo. Non è poi troppo complicato, intenderne radici ed argomenti. Pur lasciandosi trasportare unicamente dalla musica contenuta dai brani, concetti difficili, complessi e talvolta problematici come l’eterno dualismo tra vita e morte, la sofferenza morale e l’eutanasia, emergono vividi nella propria scomoda ruvidezza, manifestando – attraverso un uso accorto di effetti scenografici ben accompagnati al semplice piano musicale – gli sconvolgimenti ed i devastanti interrogativi che avvolgono il piano emozionale più profondo in casi particolarmente estremi. Il mezzo utilizzato nel conseguimento dell’obiettivo, è quanto di più raffinato si possa concepire in un project di tale spessore ed elaboratezza. Doppia voce femminile (Eleonora Serafini e Laura Prosperi), atmosfere plumbee e decadenti ed un persistente alone di malinconica tristezza, elementi che accomunano stilisticamente i Circle of Moebius con il progressive più oscuro dei Queensrÿche epoca “Promised Land”, mescolati  ai The Gathering della sirena olandese Anneke Van Giersbergen, singer alla quale l’interpretazione di Eleonora Serafini pare, in effetti, ispirarsi in più d’una occasione. Non mancano poi, alcuni pssaggi maggiormente heavy, cui non tardano ad assommarsi attimi più votati alla facilità d’ascolto, in una miscela completa, molto ben ponderata e dagli sviluppi talvolta quasi cinematografici. Confezionato magistralmente e proposto con una cura per i particolari a dir poco maniacale (eccellente anche l’artwork, molto simile per colori e “goticismo” a certe cose offerte da Century Media negli anni passati), il terzo, e presumibilmente ultimo, capitolo dell’esperienza targata Circle of Moebius, non può che rappresentare un importante motivo di vanto per il fondatore Paolo “P2k” Salvati ed una evidente ragione di lustro per l’intera scena underground tricolore, ancor più, se considerata l’assenza di una vera e propria label alla base di quella che è una produzione eccellente e del tutto “autonoma”. Un pugno nello stomaco per la drammaticità che innerva l’intero album. Parimenti, una carezza delicata ed incredibilmente piacevole per la preziosa bontà della musica offerta. 
Recensioni di "Fabio Vellata" (www.truemetal.it).

RATING:  7.75 / 10

.

*. Etcetera .*

Album: The Difficult Second (1998)
Genre: Prog Rock (Symphonic Prog)  /  Denmark

Now disbanded Danish act,who begun in 1986 by some high scholol graduates,led by guitarist Frank Carvalho. There would be a lot of rehearsals to follow,but the band only recorded two demos in 10-years time... one in 1988,with the second being the one presented here. It opens with the nice 17-min. epic ''Trespasser'',which starts as a KING CRIMSON-like track with smooth vocals,while a grandiose and large middle section follows,dominated by nice Hammond organ and moog synth leads supported by almost sounther-rock guitars (!) and the end contains some ROBERT FRIPP-like guitar work. ''The hunter'' and ''Frosty days'' follow,two decent ballads with a mellow atmosphere and lots of acoustic stuff.You'll be reminded of GENESIS on ''Suite no.1 for four piece rock band'' and its fantastic melodicism,characterized by the baroque influences of the electric piano and the organ,which bring TONY BANKS to mind, and the STEVE HACKETT-like sensitive guitar lines,both electric and acoustic. The closer ''Erratic behavior'' is another KING CRIMSON-influenced track with complicated guitar work,awesome bass on the front, distinctive keys and relatively complex drumming with jazzy influences. A nice one to close the demo. Regarding that in 1998 ETCETERA were already a band with ten years of history and experience,it is reasonable this effort to contain lots of great moments. Much recommended,especially to vintage-prog fans! Review by "apps79" (Rate Your Music).

RATING:  7.75 / 10

.

*. Exedra .*

Album: Apeiron (2012)
Genre: Prog Metal (Prog Rock)  /  Italy

Per chi ama il progressive metal è bellissimo imbattersi nell’ascolto di un disco di una giovane band che sa ancora come emozionare con un genere attraverso il quale è più facile cadere nei soliti cliché, piuttosto che osare e dire la propria. Gli italiani Exedra riescono infatti là dove molte band falliscono: assimilata la lezione dei mostri sacri del genere – a partire dagli anni Settanta ad oggi – la fanno loro, ricordandosi anche delle proprie radici affidandosi al cantato in italiano, riprendendo e rielaborando, attualizzandoli, gli stilemi del rock progressivo autoctono. E giustappunto la scelta di cantare in italiano si rivela quanto mai azzeccata, poiché in un genere emozionale come il progressive – in cui musica e parole sono indissolubilmente legate – l’importanza di “arrivare” a tutti in maniera diretta è di basilare importanza. Musicalmente i sette pezzi presenti nel debut dei tarantini devono tanto al prog metal di Dream Theater e Tool, quanto alle atmosfere dei Pink Floyd e al symphonic prog di stampo inglese. I ragazzi riescono a rileggere tutte queste influenze in chiave personale, e sono abilissimi nel convogliarle in un lotto di canzoni cariche di energia, di colori cangianti e atmosfere sognanti. Nell’ora abbondante di musica si trovano ritmi folk, funky, le atmosfere siderali dei Pink Floyd, le agghiaccianti e desolanti tastiere di matrice nordica che richiamano gli Stratovarius soprattutto di “Visions”, risultando ben amalgamate e cementate da un lavoro alla sei corde heavy e di spessore tecnico-qualitativo. Molto convincente anche la sezione ritmica e le tastiere, queste ultime di vitale importanza nel cambiare umore alla musica. Un plauso, infine, alla prova vocale di Giuseppe Prete, abile nel comporre linee vocali di impatto e mai banali. L’unico neo del disco è rappresentato dalla suite finale “Apeiron”, i cui venti minuti di musica, seppur apprezzabili, non riescono a regalare sussulti degni di nota. Per concludere gli Exedra si segnalano senza dubbio come una realtà solida ed interessante, meritevole di essere seguita e ascoltata dagli appassionati del progressive in generale. Recensioni di "Luca Galvagni" (http://metalitalia.com).

RATING:  ?????????????

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*. IQ .* (Remix 2013 + Bonus)

Album: Tales from the Lush Attic (1983)(Remix 2013 + 4 Bonus)
Genre: Prog Rock (Symphonic/Neo Prog)  /  UK

IQ have long been one of my favourite bands going back to the days of Tommy Vance and the Friday Rock Show in the mid eighties. What struck me immediately from the first time I heard them on a BBC session was this was a band that had the 'chops' to be a proper prog band and not a pale representation. The Last Human Gateway and Through The Corridors have splendid amounts energy and complexity that is unlike most neo prog of the time. This was punk clashing head on with punk and vocalist Peter Nicholls was well able to put across all the pent up angst you could possibly want. Dark atmospheric brilliant and complex. What more could you possibly want? Well a better production for starters and that is what this new package is about. Its NOT a remaster but a total remix. AS I learned from the interesting commentary on the bonus DVD Holmes was able to go back and fix many of the issues that existed with the original production. The synths and mellotron now have a much warmer feel altogether and there are some interesting vocal effects from the use of tailored'plug ins' (software devices apparently). What was a masterpiece with a poor production is now a masterpiece. The bonus DVD gives you a live performance of Gateway and a few other tracks including The Enemy Smacks. Amusing to see 'I Quo' and good to see Tim Esau again (but cheer up a bit please Tim, it may never happen). There is also a good commentary with plenty of interesting info about that period of IQ (Nicholls and Holmes do the commentary). I love the story about them trying to break into the Marquee to see the Garden Wall gig (the rehearsal for the 6 man Genesis reunion at Milton Keynes) and they ended up on the roof ! As they admit this helped bond them together. Review by "richardh" (Prog Archives).

RATING:  9.5 / 10   **MASTERPIECE**

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*. Jun Fukamachi .*

Album: The Sea of Dirac (1977)
Genre: Prog Rock (Jazz Fusion/Exp.)  /  Japan

Songs / Tracks Listing
01.It’s You
02.Neutrino
03.Après Un Rêve (After A Dream)
04.The Minority
05.The Sea Of Dirac

Line-up / Musicians
Jun Fukamachi / keyboards
Eric Gale / guitar (Tracks: 01, 04)
Barry Finerty / guitar (Tracks: 02, 05)
Steve Khan / guitar (Tracks: 01, 04)
Ernie Watts / saxophone
Anthony Jackson / bass (Tracks: 02, 05)
Tonny Levin / bass (Tracks: 01, 04)
Howard King / drums (Tracks: 01, 04)
Steve Gadd / drums (Tracks: 02, 05)
Crusher Bennet / percussion

RATING:  7.5 / 10

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*. Medusa .* (Reissue 2013)

Album: First Step Beyond (1975)(Reissue 2013)
Genre: Hard Rock (Heavy/Psychedelic)  /  USA

Coming to you on 180gm vinyl in a “black velvet album jacket shaved from a centaur’s scrotum” – a presumably unprecedented selling point – First Step Beyond represents the entire output of Chicago no-marks Medusa, recorded on a four-track machine in 1975 and left until now to accumulate moss and mystique. Medusa’s whole shtick was that they were godless, irredeemable pentagram frequenters – but you just want to hug them. Opening track Strangulation, for example, signally fails to strike fear into the hearts of men with its adorably weedy vocals and a drum track so carefully ploppy that it might as well have been gingerly carried to a bin in a nappy, but somehow you can’t help loving it. The tritone riff of Unknown Fear more successfully conveys a certain Amicus portmanteau frisson – “feel the icy chill run down your spine”, woah – but again, you get the impression that the extent of Medusa’s saturnalia was that one of them may have owned a Dennis Wheatley paperback, then felt compelled to make a cape out of his mum’s towelling dressing gown. Meanwhile, Temptress apes the amdram moodiness of early Deep Purple – a suspicion heightened by Black Wizard, featuring a distinct paraphrase of the Child In Time riff. Inessential, but enormously charming. Review by "Gorgon Bennett" (http://recordcollectormag.com).

RATING:  7.75 / 10

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*. Kingcrow .*

Album: In Crescendo (2013)
Genre: Prog Rock (Crossover Prog/Prog Metal)  /  Italy

2013 has really kicked off in style thanks to stellar new albums like this one from the progressive band Kingcrow. In Crescendo is the fourth release from the Italians, this is quite an atmospheric recording which sounds crystal clear thanks to the excellent production that heightens the attraction values. Kingcrow's choice of progressive music is an engaging fusion of metal and rock, you can hear the inspiration from others that Kingcrow have taken on board and style wise Kingcrow aren't that distant from celebrated progressive groups like Porcupine Tree and Riverside. Porcupine Tree actually sprang to mind when I heard "The Drowning Line" which as it kicks off sounds as though it was based on the Porcupine Tree song "Deadwing", and like that memorable song this is also a great number. In Cresendo has Kingcrow opening with a powerful song called "Right Before" allowing the members of Kingcrow to display their technical prowess. " This Ain't Another Love Song" is a musical chameleon of sorts that shifts from a tranquil song to rock then metal and back closing in a more peaceful state. That soft music continues into a totally captivating song "The Hatch" which is also quite diverse and has so much to offer. "Morning Rain" is a slow gentle composition that builds up to a powerful performance from the band while "The Glass Fortress follows a similar pattern allowing their drummer to get animated and unleash some double kicks. "Summer '97" features more engrossing music which then leads us to the finale, title and longest track "In Crescendo" where Kingcrow bring this album to a triumphant conclusion with so much great and complex at times music and as with the other seven songs the vocals are also very inviting. Watch out for Kingcrow's In Crescendo as I am sure this wonderful new album will receive loads of favorable approvals. In Crescendo is one album that really lifts your spirits, and isn't that a great thing when you find a quality release that has such a truly positive effect. 
Review by "Scott Jessup" (www.seaoftranquility.org).

RATING:  ??????????

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*. Elysium Theory .*

Album: Event Horizon (2013)
Genre: Prog Rock (Crossover Prog/Prog Metal)  /  USA

Elysium Theory's second full-length cd entitled "Event Horizon" is now available. The release marks the culmination of a two year effort following the band's debut "Modern Alchemy." The album sees the band exploring concepts familiar to ET fans...religion, science, prophecy, and extra terrestrials! All while expanding its storytelling into a unique, yet unified conceptual piece. Featured is the seventeen minute epic, "The Cask" based on the Edgar Alan Poe short story. (www.cdbaby.com).

Songs / Tracks Listing
01.B'aktun 13
02.Long Count
03.Clockwork Earth
04.Illuminated
05.Halo
06.Pictures in the Sand
07.The Arrival
08.Travelers in Time
09.Church of the Serpent
10.Transmission Alpha
11.Cask of Amontillado I - The Insult
12.Cask of Amontillado II - The Carnival
13.Cask of Amontillado III - Coat of Arms
14.Cask of Amontillado IV - The Catacombs

Line-up / Musicians
Daniel Peterson / Vocals
Timothy Reid / Guitars
Benny Reyes / Synthesizers and Pianos
Jeffrey Fister / Bass Guitar
Ted Feeney / Drums/Percussion

RATING:  ?????????????

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*. Alan Hull .*

Album: When War Is Over: BBC Recordings 1973 & 1975 (1998)
Genre: Prog Folk (British Folk)  /  UK

The second CD of this set is a fairly lacklustre set recorded live in concert for BBC Radio in 1975 which I would rate *** at best. The rating I have given is for the first disc which consists of two 1973 BBC radio sessions plus a version of his classic "One More Bottle of Wine" (one of three versions on the two CD's) recorded the day after the 1975 concert. The first session includes three songs from Pipedream , which sound brighter and crisper than on the album, plus a version of "When the War is Over" the highlight of the first Lindisfarne Mk II album Roll on Ruby . The second session includes solo versions of two songs which would later appear on Lindisfarne's 1974 Happy Daze ("Gin & Tonics All Round" & "Dealer's Choice") plus "One More Bottle of Wine" and "Dan the Plan" which surfaced on his 1975 Squire. Overall, I think this CD is a more enjoyable experience than either of the two solo albums mentioned above. Review by "sfhulluk" (Rate Your Music).

RATING:  8 / 10

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*. Materya .*

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

E’ strano come sia stato scelto un nome che, letto in italiano, porti a pensare a qualcosa di fisico per un progetto musicale che al contrario è pieno di romanticismo, poesia e canzoni che sembrano fatte per essere ascoltate da soli, magari con la pioggia che mormora dietro finestre dai vetri appannati. I Materya sono un duo legato agli Altavia, gruppo di prog melodico già trattato sulle nostre pagine, costituito da Andrea Stagni (piano, tastiere, programmazione, chitarre, basso, cajon, percussioni, armonica e voce) e Betty Copeta (voce), ai quali si affiancano alcuni ospiti e cioè Marcello Bellina (Altavia) e Claudio Trotta (Deus Ex Machina) che hanno suonato la batteria in alcune tracce. Tutto nacque nel 2008 da un’idea di Francis Dunnery che chiese al duo di portare avanti il progetto sotto la sua supervisione, dopo aver ascoltato un pezzo originariamente scritto per lui. La nascita degli Altavia fece slittare i Materya in secondo piano finché, nel 2011, tutto comincia nuovamente a girare, senza però la collaborazione di Dunnery, terminata a causa delle diverse prospettive che la musica stava prendendo rispetto al piano originale. Quella di Betty è la voce solista principale alla quale si affianca a volte sullo sfondo quella di Andrea con i ruoli che si ribaltano in pratica nella sola “Across the Light”. Betty ha un timbro dolce e limpido che risalta sia nei pezzi in inglese che in quelli in italiano che sono presenti in maggioranza. L’apporto strumentale può essere dato a volte essenzialmente dal piano, come nella elegante traccia di apertura, “Hide from Angry Hear”, e altre volte vengono scelte soluzioni più romantico-sinfoniche con venature pop, come in “The deed is done” e in numerosi altri brani, con riferimenti ad Aries, Magenta o Karnataka. Molto belle sono le semplici orchestrazioni ed i giochi vocali di “Braccialetti di diamanti”, una vecchia canzone le cui liriche, scritte dalla poetessa Mitì Vigliero, furono ispirate da una foto scattata da Andrea lungo le rive dell’Arno. Qualche guizzo sinfonico, sempre molto contenuto, viene instillato qua e là, senza alterare mai l’impressione generale di luminosa semplicità che offre ogni singola canzone. Il finale di “Domenica” ad esempio è illuminato persino da tastiere in stile Yes e addirittura da un cantato, oserei dire, quasi Magmiano. Fra i brani a mio giudizio più belli mi piace segnalare “Case nella bassa” con un testo descrittivo e poetico e tratteggi sinfonici sfumati fatti di archi impercettibili sullo sfondo con i quali la voce di Betty sembra quasi sfumarsi e confondersi. Quello che si sente sospirare attraverso la musica pare sia un autentico fantasma, registrato accidentalmente mentre il duo cercava di catturare i versi del barbagianni che vive vicino allo home studio dove è stato realizzato l’album. “Stella Splendens” è un altro brano da mettere in evidenza, con un antico testo in latino e una melodia che viene dal medioevo, utilizzata anche da molti altri gruppi, Tri Yann compresi. Questa interpretazione è particolarmente bella per gli arrangiamenti sinfonici ed elettrici che trovano soluzioni intriganti e personali con un finale incredibilmente Genesisiano che devia il corso della canzone in maniera inaspettata. In generale non troviamo la perfezione formale dell’album degli Altavia e neanche la desidererei ad essere sincera perché altererebbe quella sensazione di album intimistico, poetico e personale col quale si entra subito in empatia. Il sentimento che pervade l’opera è una costante e dolce malinconia che associo a paesaggi piovosi ed autunnali e in cui è piacevole cullarsi. Forse accorciare un pochino la durata complessiva (un’ora in tutto) avrebbe però reso l’ascolto dell’intera opera un po’ più agevole: il tono lieve delle canzoni, il loro inesauribile romanticismo, forse alla lunga non consente di affrontare l’album in un’unica seduta ma anche qui ci sarebbe da dire che in una scatola piena di affetti e ricordi non si può stare lì a fare cernite e tanto vale rovesciare tutto sul pavimento e guardare ciò che ci va, lasciando ad un secondo momento il piacere di completare l’esperienza. L’album è in definitiva fatto davvero bene, anche se è forse un po’ ridondante e sia i testi che la musica hanno un loro fascino particolare forse accresciuto dal fatto che vi si scorgono frammenti di vita personale degli autori che li avvicinano per questo al cuore dell’ascoltatore. Con tutto quello che esce al giorno d'oggi, fra sapori dolci ma artificiali, fra opere formalmente splendide ma prive di anima, direi che la sincerità e l’autenticità di questo album sono davvero da premiare. Recensioni di "Jessica Attene" (www.arlequins.it).

RATING:  8.25 / 10

.

*. Projected Twin .*

Album: Earth vs World (2013)
Genre: Prog Rock (Crossover Prog/Alternative)  /  Australia

Songs / Tracks Listing
01.You Threw The Stone
02.The Ritual
03.Divine Intervention
04.Grab On Please
05.Sirens
06.Memo
07.Pain Of A Promise
08.This Cannot Mend

Line-up / Musicians
Shaun Holton / Vocals, Guitars, Bass, Programming
Cat Johns / Vocals, Keyboards, Programming
Chris Lau / Guitars, Bass
David Polain / Trombone
Luke Whelan / Drums

RATING:  ????????????

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*. Mats Glenngård .* (Remaster 2012)

Album: Kosterläge (1972)(Remaster 2012)
Genre: Prog Folk (Contemporary Folk/Psych.)  /  Sweden

Songs / Tracks Listing
01.Natthimlen
02.Kosterlage
03.Jorans Lat
04.Djuret
05.Berget Heter Bonden
06.Allt pa Denna Runda Jord
07.Tongang till Taby
08.Det Snoar Pa Mitt Huvud

Line-up / Musicians
Mats Glenngard / guitar, violin, mandolin, vocals
Thomas Netzler / bass, vocals
Bosse Skoglund / drums
Sten Bergman / grand piano
Bennie Svensson / keyboards
Kenneth Arnstrom / flute
Pelle Lindstrom / backing vocals
Matte / piano

RATING:  7.5 / 10

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*. Pinnick Gales Pridgen .*

Album: Pinnick Gales Pridgen (2013)
Genre: Prog Rock (Heavy Rock/Fusion/Blues)  /  USA

Already being touted as a super group by some is the trio of Dug Pinnick (King's X), Eric Gales (Lauryn Hill, solo), and Thomas Pridgen (ex-Mars Volta). And they might be right. Certainly their talent and experience speaks to the potential of some superb music within this package. To get a hint of what that might be, you might investigate their cover of Sunshine of Your Love, by another legendary, some say one of the first, 'super groups,' Cream. That band's texture was a mixture of then current styles, including blues, rock, pyschedelia, among others in a fusion of sound. Add a little funk and soul to PGP and you'll get most of what you hear on this debut album. What's curious about this collaboration is, that despite the impressive individual musicianship, where both ego and talent could trump all things, PGP plays as a band. Conversely, all three players and their instruments (with Pinnick that would be two, voice and bass) seem to be playing lead parts. That's saying much since lead guitar often leaps above others in a band, and Gales is disturbingly creative here. Only the affirmed and confident ability of musicians of the same caliber make PGP work as one. (But if you still love exceptional guitar work, you need to get this album.) The next thing to do is simply listen. Those aforementioned mixture of styles permeate this album, but fundamentally PGP are a rock band. Expect arrangements of big riffs, melodies, and hooks, driven by Pinnick and Pridgen's sturdy rhythm section, set on fire by Gales' fret work, and wrapped in that indefinable characteristic we call soul. Top picks: for blasting heavy rock, Lascivious; for something quirky, The Greatest Love; for bit of funk in your groove, Hang On Big Brother; and for expansive blues rock fusion, the longer Been So High (The Only Place to Go Is Down). Ultimately, Pinnick Gales Pridgen is a groovy trip into some melodic heavy rock fusion, and quite recommended. Spin it several times to let it get under your skin. Review by "Craig Hartranft" (www.dangerdog.com).

RATING:  8.25 / 10   **GREAT**

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*. Machiavel .* (Re-Post) (Request)

Album: Live in Brussels (2007)(2 Cd's)
Genre: Prog Rock (Crossover Prog)  /  Belgium

Nul besoin de présenter encore cette légende du rock belge qu'est Machiavel. Le groupe est sans doute le plus emblématique de l'histoire du rock en Belgique, avec le temps plus encore qu'un Wallace Collection. Il y a deux ans, ils sortaient l'album "2005" et partirent en tournée. Ce double album live couvre leur passage à l'Ancienne Belgique. Le groupe avait alors privilégié les nouveaux titres, huit du dernier album, plutôt que les profondeurs de leur back catalogue. C'est ainsi qu'en dehors des incontournables tels "Rope Dancer" ou "Fly", les morceaux les plus anciens font l'objet d'un medley, un peu comme le fait actuellement Genesis. Il n'est donc pas étonnant de retrouver leurs derniers hits tels "Washing Their Hands" ou plus encore "The Might Is Right", "Chronic Love" et "Watching The Time". Et il faut bien dire qu'en live les vibrations passent pas mal, plus qu'en studio en tout cas pour ces titres somme toute très Pop Rock bien ancrés dans la vague Classic Rock. L'album "Welcome to paradise" n'est pas oublié non plus. Il y a "Time is like a river", l'irrésistible ballade "Wild is the wind" aux tons très Beatles, "You're the woman" et "Killing life". L'album "Virtual Sun" est aussi présent avec "Down On My Knees". C'est l'occasion de se rappeler que cet opus était terriblement imprégné des influences de Led Zeppelin et de l'album "Physical Graffiti". C'est aussi sans doute leur meilleur album studio de ses dix dernières années. Finalement, voilà un très bon album live de notre Machiavel national qui contrairement au live de 1999 fait la part belle aux derniers opus studio. C'est donc un complément idéal pour les fans. Examen par "JPL" (www.musicinbelgium.net).

RATING:  8.25 / 10

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*. Angela Baraldi & Massimo Zamboni .*

Album: Solo una Terapia: dai CCCP all'estinzione (2011)(Live)
Genre: Soft Prog (Alternative/Rock/Pop)  /  Italy

Due piani quinquennali con relativa costituzione, ascesa e smantellamento di un universo utopico e musicale capace di segnare un’epoca; un successivo periodo di grandi adunate, da Eltsin a Guazzaloca, e dolorose diaspore; il boato di nuovi scoppi nel cielo, non tuoni, con relativa fuga e prove tecniche di resurrezione. In trent’anni di attività, Massimo Zamboni ha attraversato diversi accadimenti riuscendo ogni volta, inerme ed imbattibile, a rinascere a nuova vita. E’ stato fedele alla linea fin quando c’è stata; ha viaggiato e conosciuto stati indipendenti fino alla loro drammatica implosione; ha affrontato la sorella sconfitta domandola e sotterrandola sotto una spessa coltre di parole sussurrate appiccicate in gola e musica elettrificata. Un percorso umano ed artistico che il cd live Solo Una Terapia: Dai CCCP All’Estinzione, a sua volta espressione di uno spettacolo che ha girato l’Italia la scorsa estate (e che avrà anche un’appendice invernale), cerca di sintetizzare nel migliore dei modi attraverso tredici tappe e poco meno di un’ora di musica in cui l’artista reggiano si confronta col proprio ingombrante passato, attualizzandolo ed ammantandolo di nuova e luminosa bellezza. Con lui sul palco a condividere oneri ed onori la grintosa Angela Baraldi, cantante ed attrice eccellente (tra gli altri, ha recitato per Giuseppe Bertolucci, Gabriele Salvatores, Guido Chiesa) dotata di una voce ruvida e potente. Assennata nel non osare l’impossibile che la vedrebbe soccombente, risulta perfettamente credibile anche alle orecchie di chi quei brani li ha ascoltati prender vita dalla voce salmodiante di Giovanni Lindo Ferretti. Certo, a tratti l’indebito paragone inevitabilmente salta comunque fuori, soprattutto negli episodi meno riusciti (Allarme, M’Importa ‘Na Sega), ma nel complesso la Baraldi riesce a donare personalità e vigore anche ad autentiche pietre miliari come Emilia Paranoica, che apre l’album, fino alla dolcissima Annarella sorrette, come tutto il resto, dal consueto muro di chitarre liquide, pacificate e distorte che Massimo Zamboni mette in scena insieme ad Erik Montanari (chitarre), Cristiano Roversi (stick e basso) e Gigi Cavalli Cocchi (batteria). Detto ciò, è altrettanto vero che i momenti più intensi del disco arrivano dai brani post CCCP/CSI ovvero Da Solo, contenuta nell’album d’esordio Sorella Sconfitta in cui era interpretata da Lalli (successivamente ripresa anche da Nada nel live L’Apertura) e qui invece riproposta dalla viva voce dello stesso Zamboni, Quando Se Non Ora tratta da L’Inerme è L’Imbattibile e, soprattutto, la splendida A Ritroso presente nella sua ultima fatica solista, L’Estinzione Di Un Colloquio Amoroso, con la voce rabbiosa che si arrotonda concedendosi ad occhi che sappiano guardare, mani che sappiano tenere. Senza dimenticare pure l’unico brano inedito del cd, Nove Ore, scritto per il bellissimo documentario + o – Il sesso confuso. Racconti di mondi nell’era Aids di Andrea Adriatico e Giulio Maria Corbelli. Privo di qualsiasi afflato nostalgico per i bei (?) tempi che furono, Solo Una Terapia: Dai CCCP All’Estinzione è un live atipico ed intimista che non ha paura di guardarsi dentro. Un lavoro onesto, genuino a cui accostarsi con rispetto. Un’operazione bella e con l’anima. E scusate s’è poco. Recensioni di "Ivan Masciovecchio" (www.rockshock.it).

RATING:  7 / 10

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