*. Sanguine Hum .*

Album: The Weight Of The World (2013)
Genre: Prog Rock (Crossover/Neo Prog)  /  UK

Their sound has been described as Radio Head meets Porcupine Tree but they have also have vocal homage to Jonas Bjerre from Mew and Green Gartside (Scritti Poliiti) and guitar riffs that would not shame Steve Hillage. Sanguine Hum from Oxforshire have followed up their debut album Diving Bell with a twisting and turning record that encompasses all that is good in new rock music. The opening track “From The Ground Up” sets the tone for a searing, quirky and modern progressive record. Plenty of key changes, triplets and quadruplets draw from the modern classical of Reich and Adams as well as many many progressive influences. That repeating pattern of notes in 12/8 time, OK not quite but you get the idea and looking at the videos of them at work these boys can play, they have been classically trained. "System for Solution” introduces the album it prods and pushes until the guitar solo outs itself and undoes the shackles to get free and becomes the mainstay of the piece. Many of the songs develop into challenging and thought provoking music that asks the listener to hit the repeat button to check they heard right the first time. “Days of Release” is possibly the stand out track blending electronica with a nerve tingling beat, good melody and an array of instruments which blends neatly into the next track the quiet and vocal driven “Phosphor”. The album ends with the 15 minute “Weight of The World” which helps cement a homage to tradition to the heyday of the movement. Have Sanguine Hum pushed the creative boundaries to produce one of progressive and landmark albums of 2013? In true progressive fashion multiple listening’s will help you decide. Recorded at Oxford’s Evolution studios, Joff Winks (vocals, guitars, programming), Matt Baber (keyboards, percussion, programming), Brad Waissman (bass) and Andrew Booker (drums, percussion). To promote “The Weight of the World”, Sanguine Hum will be performing at The Borderline in London on Friday June 7th with TIN SPIRITS and MATT STEVENS. 
Review by "Rocky Rockshot" (http://rockshot.co.uk).

RATING:  ???????????

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*. Dunwich .*

Album: Il Chiarore Sorge Due Volte (1995)
Genre: Prog Folk (Symphonic/Metal/Medieval Folk)  /  Italy

Thanks to Ivan Melgar for this suggestion. A lot of really good music--the medieval parts/influences being my favorites. I guess I'm discovering something about my prog tastes: I seem to like the groups who incorporate old and acoustic instruments and arts (e.g. operatic singing, symphonic structures, chamber strings and troubadour insturments) and I really enjoy good female voice--and boy does DUNWICH have one in Katya Sanna! While the metal/heavy prog elements of this album are not my favorite, there are more than enough of the softer, subtler, more 'medieval' and pastoral/folk sections and themes to make up for these. While not a masterpiece, this is great music--music that continues growing on me with each listen. Ivan mentions MIRANDA SEX GARDEN-- which went on to become one of my favorite bands from the Naughties, MEDIAEVAL BAEBES (especially with "Yatima" [8/10] and "La nuova rugiada" [7/10]), while I find myself also reminded of DARGAARD, CLAIRE HAMMILL, LOREENA MCKENNITT ("La rivalsa di Aki-Gahuk" [8/10]), and ADIEMUS/MIRIAM STOCKLEY as well as EPICA, WITHIN TEMPTATION, and NIGHTWISH. I love the ROY BUCHANAN-like electric guitar work and vocal variety on "Il viaggio di Wesahaycah." Not a masterpiece but close; definitely an excellent addition to any prog lover's music collection--especially one that appreciates the integration of older 'medieval' instruments and themes and beautiful clear female vocals. Review by "BrufordFreak" (Prog Archives).

RATING:  7.75 / 10

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*. Midas Fall .*

Album: Wilderness (2013)
Genre: Prog Rock (Crossover/Post Rock/Alternative)  /  UK

The glitchy laptop beats and sparse, guitar-based atmospherics on Midas Fall's second full-length puts them neatly in line with label-mates 65daysofstatic, but such comparisons are only partly useful in pinning down their sound. Their most striking feature lies in Elizabeth Heaton's dramatic, impassioned vocal performances. At times, the subtler instrumental sections don't match the ambition of her voice, but when the two are playing to each other's strengths during the big crescendos (Borders, Fight First), the results are almost always powerful. At their best, they're a welcome addition to an increasingly complex post-rock map; The Moon and the Shine and Your Heart, Your Words, Your Nerves effectively carry the cinematic air of bands like Oceansize and Aereogramme, but when they're less inspired, they drift into middle-of-the-road soft-rock, most notably on the minimalist title track which closes the record. Though it sticks rigidly to a well-worn formula, Wilderness succeeds on the weight of its emotional punch. Review by "Ross Watson" (www.theskinny.co.uk).

RATING:  ??????????????

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*. Camelias Garden .*

Album: You Have a Chance (2013)
Genre: Prog Rock (Symphonic/Folk)  /  Italy

Camelias' Garden are a very young band from Rome born around the singer and poly-instrumentalist Valerio Smordoni. Their music features lyrical atmospheres and particularly elegant vocal arrangements. The sound, between acoustic and vintage, reminds the great progressive rock from the past (Genesis, Yes), Folk-prog and Italian bands like Acqua Fragile and Celeste. (http://cameliasgarden.bandcamp.com)

Songs / Tracks Listing
01.Some Stories
02.Dance Of The Sun, The Remark, Birth Of The Light
03.The Withered Throne
04.We All Stand In Our Broken Jars
05.A Safe Haven
06.Knight's Wow
07.Clumsy Grace
08.Mellow Days
09.'Til The Morning Came
10.Some Stories (Reprise)

Line-up / Musicians
Valerio Smordoni / Vocals, Keyboards, Guitar
Manolo D'Antonio / Acoustic and Electric guitars, Vocals
Marco Avallone / Bass

Guest Musicians:
Francesco Favilli / Drums and Percussions
Carlo Enrico Macalli / Flute
Andrea Bergamelli / Cello
Eliseo Smordoni / Bassoon
Giovanni Vigliar / Violin

RATING:  8.5 / 10   **MARVELLOUS**

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*. Alpha III .* (Remaster + Bonus)

Album: Ruínas Circulares (1988)(Remaster 2011 + 2 Bonus)
Genre: Prog Rock (Symphonic/Ambient/Exp.)  /  Brazil

Songs / Tracks Listing
01.A Viagem
02.Templo De Fogo
03.Iniciação
04.O Sonho
05.Filho Dos Deuses
06.Templo De Pedra
07.A Visão
08.Ruínas Circulares
09.Fantasmas
10.Vozes
11.Holocausto
12.Eternidade
13.Capella (bonus)
14.Borges Réquiem (bonus)

Line-up / Musicians
Amyr Cantúsio Jr. / all instruments

RATING:  7.25 / 10

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*. State Urge .*

Album: White Rock Experience (2013)
Genre: Prog Rock (Symphonic/Crossover/Art Rock)  /  Poland

BIO: State Urge is a band hailing from Gdynia, consisting of four musicians whose shared passion for creating unique music that is hard to classify. They’re performing white rock – an original genre. On one side it has roots deep in a classic rock sound, on the other hand it’s unpretensional, fresh and most importantly emotionally honest. In 2011 they self-released their demo – “Underground Heart” EP. Enthusiastic opinions about the release allowed the band to be aired on Polish Radio Channel 3 thanks to kindness and by personal choice of redactor Piotr Kaczkowski. Interesting fact is, that the album consisted of almost only instrumental improvisations, with vocals and additional effects added later on. In 2012 the band released another EP, “What Comes Next?“. The main point of this release was to find out the answer to the question stated in it’s title. What comes next? The group was pleasantly surprised with positive reviews, they served as motivation and driving force to dedicating even more work to creating music. During that time the band succesfully attended many festivals and competitions (winning the FAMA festival in Tricity region and getting honours in several regional competitions) and were aired on popular Polish radio stations (Radio Gdańsk, Radio PiK, Radio Alfa, Radio MORS, Radio SAR, Radio MEGATON and others). They also shared the stage during their concerts with known bands such as Cochise, Dianoya, Votum and others. The turn of the year 2012 emerged as the sought after answer. In co-operation with Lynx Music, a publisher from Krakow, the group began their work on the long awaited debut album. They recorded new material, but decided also to incorporate in the album some of the older work. The urge to create something unique, a new quality on the music market led them to conceiving the concept of “White Rock Experience”. It’s worthy of note, that the band pays speccial attention to their concerts. Fields of interest connected to stage techniques, visual projections and theatre resulted in building an interesting show, which engulfs the viewer into an oneiric land of sound, views and lights. (www.stateurge.com)

RATING:  8.25 / 10   **GREAT**

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*. Rick Miller .*

Album: Immortal Remains (2013)
Genre: Prog Rock (Symphonic/Crossover)  /  Canada

This is my latest CD, in the genre of what I would call Progressive Rock. That term defining the type of music that was made famous throughout the 70s by bands such as Genesis, The Moody Blues and Pink Floyd. The music is soft, dark and melancholy because that's the way I like it. So if you like your Prog Rock with lots of jazz fusion or heavy metal in it, you may not find what you're looking for here. I hope you enjoy.. and thanks for listening. (http://rickmiller.bandcamp.com)

Songs / Tracks Listing
01.Rats In My Darkness
02.Ode To An Angel
03.Like A Drug
04.The Hands Of Time
05.The Oasis
06.Sanctity
07.Providence
08.My Atom Heart

Line-up / Musicians
Rick Miller / vocals, all instruments
Kane Miller / acoustic guitar and violin
Sarah Young / flute
Mateusz Swoboda / cello
Barry Haggarty / stratocaster guitar
Ruth Archer / The spoken word on Ode To An Angel and Sanctity

RATING:  ????????????

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*. Arzen .*

Album: Zhasinania (2004)
Genre: Prog Rock (Hard Rock/AOR)  /  Slovakia

Songs / Tracks Listing
01.Zhasínania
02.Pokušenie
03.Biele dievča, biele...
04.Snívaj, nepremýšľaj
05.Tisíc krát
06.Klobúk
07.Kam sa ponáhľaš
08.Uspávanka
09.Ámor
10.Hora, hora
11.Katarínka
12.Na kríži svet
13.Záverečná
14.Žilinská brána

RATING:  7 / 10

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*. Naranja Mecánica .*

Album: Revive El Sentimiento (1977)
Genre: Prog Rock (Symphonic/Folk)  /  Argentina

Naranja Mecánica fue una banda formada a mediados de los años '70, liderada por Omar Constanzo, el ex bajista de Materia Gris. "Revive el sentimiento" fue el nombre del primer y único disco, editado por Phonogram Discos en 1977.

Songs / Tracks Listing
01.Carta para un amigo
02.Claro de estrellas
03.Como retratos sin marcos
04.De celofán y de satén
05.Dios te salve María
06.Frágil ave cristal
07.No diré
08.Polizón de chocolate
09.Revive el sentimiento
10.Un lugar, un ayer, y un amor para olvidar
11.Vuelve a mí, vuelve ya otra vez
12.¡Stop corredor!

Line-up / Musicians
Haydeé Holgado / vocals, guitar
Omar Constanzo / bass
Juan Libster / keyboards, acoustic piano
Augusto Milhardic / drums, percussion

RATING:  7.5 / 10

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*. Periferia Del Mondo .* (Reissue 2012 + Bonus)

Album: Perif3ria del Mondo (2006)(2012 + 1 Bonus) (11 Track's)
Genre: Prog Rock (Symphonic/Jazz/Folk)  /  Italy

This is the third and latest album released by the contemporary italian prog band Periferia del Mondo. A surprise to my ears because of the large variety of sounds and influences and the wide range of instruments, especially saxes, flutes, clarinet and whistles. Perhaps the thing I've appreciated most. The jazz-rock element isn't really dominant but its sparse and gentle flavour enriches the atmosphere giving sometimes the vague impression of some Arti + Mestieri mood. But the album is much more than this. They are classically and symphonic inspired, they play melodic and harder rock parts with many solos on electric guitar and erupting hammond organ as in "Ocean" (4,55 mns). Also the mellotron like sound and piano have an important role as in the inspired "Ciaroscuro" (4,58). Interesting the changes of tempo in a jazz-swinging-swirling mood. "Come un Gabbiano" (8,53 mns) opens softly and melacholically giving you the idea of the seagull flying over the vast sea. A hard electric guitar playing with excellent accelerations and sudden keyboards's eruptions. "Alghe" (4,42 mns) is the most strange track here. Synth and other different keyboards plus slow spoken words give really the idea of the wavering in the underwater world. The highest point of the album, in my humble opinion, is "Suite Meditteranea: a) Tra le Terre; b) L'Oracolo di Delfi; c) H. H. Blues" (8,37 mns). Spoken words in ancient greek language open the song with mystical and piano sound and dramatic electric guitar in an almost mystical atmosphere. Recently other italian band Ubi Maior decided to put some ancient greek words in their eponimous debut "Nostos". But let's go back to "Suite Mediterranea". This song has all a fanatic prog lover needs and die for. Many variations, soli and changes of tempo, but above all, is based and structured upon many different musical influences, from mediterranean to balkanian with saxes having a great role in the first part. In the second part whistles come out from behind the cloud and build up a WONDERFUL folky atmosphere that made me think, initially, to Gryphon. A great track, one of the best from the recent years, I think. And an important visiting card for this often overlooked band. Review by "Andrea Cortese" (Prog Archives).

RATING:  8 / 10

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*. Schmetterlinge .* (Remaster)

Album: Proletenpassion (1977)(Remaster 1989)
Genre: Prog Folk (Political Folk)  /  Austria

Songs / Tracks Listing - CD 1
01.Wer schreibt die Geschichte?
02.Wir hatten Gräber und ihr hattet Siege
03.Lied des Geschichtslehrers
04.Einführung: Deutschland um 1500
05.Des Bauern große Not
06.Die zwölf Artikel der Bauern
07.Martin Luther, Originalzitat 1
08.Kampflied der Bauern
09.Siegestanz
10.Bericht über Thomas Münzer
11.Ein neues Reich, ein besseres Reich
12.Martin Luther Originalzitat 2
13.Thomas Münzer, Originalzitat
14.Kommt, ihr tausend Haufen
15.Im Mai zu Frankenhausen
16.Lehren der Bauern
17.Mächtelmöchtel
18.Dialog Bürger-Philosoph
19.Die große Zeit, die da begann
20.Marianne
21.Marsaillaise
22.Lied von der letzten Schlacht
23.Ballade vom Glück und Ende des Kapitals
24.Die schlesischen Weber (H.Heine)
25.Auftritt General von Moltke
26.Hunderttausend Arbeitslose
27.Ballade von den zwei ruhmlosen Generalen
28.Lied vom Gespensterzug
29.Wahlaufruf
30.Was ist eine Kommune?
31.Dekrete der Kommune
32.Verhandlung Thiers-Moltke
33.Die Frauen der Kommune
34.Auf dem Friedof von Pere Lachaise
35.Die Lehren der Kommune
36.Lied der Fragen
37.Tot oder lebendig

Songs / Tracks Listing - CD 2
01.Lärm und Stille
02.Es fällt ein Soldat bei Tarnopol
03.Babouschka-Lied
04.Lied vom Hausbau
05.Lied der Kleingläubigen
06.Jalava-Lied
07.Erstürmung des Winterpalais
08.Wenn ich wieder reich bin...
09.Lied von der Partei
10.Stille und Lärm
11.Der Funke fliegt
12.Otto Bauer, Originalzitat
13.Der Schuß von hinten
14.Das Lied von Krupp und Tyssen
15.Hitler's Blues
16.Lied vom A-Sager
17.Vier noble Generale (Lied aus dem spanischen Bürgerkrieg)
18.Faschismuslied des Geschichtslehrers
19.Wir haben nie zu kämpfen aufgehört
20.Companero Victor Jane: presente
21.Fragelied
22.Supermarkt-Song
23.Die Geschichte von Arbeiter Willi K., der sich selber wegrationalisierte
24.Demokratielied
25.Bilanz-Tanz
26.Fragelied 2
27.Sozialismus, der fällt nicht vom Himmel
28.Wir lernen im Vorwärtsgehen

RATING:  7.75 / 10

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*. Kazimierz Lux .* (Reissue 2013)

Album: Lux C.S. (1972)(Reissue 2013)
Genre: Prog Rock (Folk/Blues/Funk)  /  Netherlands

The biggest cold is gone now ... but 7°C still no weather to play a 'rumba'. What I have here is: the CD version of CS (with the whole 'Distance' as bonus or vice -versa.) I play Kazimierz already over 35 years...I still love it. Don't expect an amatourish album...oh no...this is a warm quiet melancholic album, with excellent jammin' rock, some 'country and folk rock' and brought with Kaz unique high soulish voice. .....momento.. go upstairs to find the original vinyl cover ...coz' no info here.....and I need something to have in my hands... I'm back...didn't knew I have all his vinyl albums twice.. Just what I thought: Kaz is only singing on this and the cast is the old 'Brainbox' without Jantje Akkerman. Favourite tracks: 'Graveyard'..this one reminds me very much to the better Janis Joplin tracks (also the vocal part)...Summertime.... 'Delayed Panic' a simple warm 'country rock' track. 'Brown Chrystal': A good progressive track...but as 'single' an unevitable flop....this is not commercial. 'The Change'the track I like the most...it's simple and gives Kaz voice the chance to develop in it's own way:this has to be the single ! But also the tracks I didn't mention are above average. This one is for real album lovers from 'Blind Faith' over 'Janis Joplin' to 'Neil Young, Byrds, Gram Parsons' Spooner Oldham-Dann Penn compositions would sound great with this voice. 
Review by "beestie" (Rate Your Music).

RATING:  7.75 / 10

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*. The Dear Hunter .*

Album: Migrant (2013)
Genre: Prog Rock (Crossover/Alternative)  /  USA

For those unfamiliar with The Dear Hunter, here is a brief summary: the band is the progressive/indie/experimental brainchild of Casey Crescenzo. Between 2006 and 2009, Casey released the first three parts in what was originally planned to be a six-part concept album series following the life of a young boy known as “The Dear Hunter”. In 2011, Casey took a quick turn by dropping The Color Spectrum, an overly ambitious collection of nine EPs, each representing a musical interpretation of a particular colour. In the past, Casey’s music has been rather eccentric. Although Acts I-III and The Color Spectrum have been hailed as “crowning achievements in rock”, Casey has proven album after album that his ambition can sometimes get the better of him, resulting in what some describe as “lazy songwriting”. Casey has always written within the scope of a single concept, with his lyrics and musical arrangements often filtered through this lens. On Migrant, Casey has really broken his own mold. Migrant is the first album by The Dear Hunter to not be unified by a single narrative. Casey has instead written 12 songs that, although not driven by narrative, are unified by the concept of looking within oneself and facing one’s own faults. The end result is that Migrant is massive, triumphant, and heart-wrenchingly honest – a pleasant surprise from a band infamous for its obscure narratives. From the opening tracks “Bring You Down” and “Whisper”, it is clear that Casey is on to something big. Casey’s compositional skills have vastly improved from The Color Spectrum. Although the arrangements at first seem simpler, Casey has taken a lot of care with the subtleties: the jazzy piano flourishes, the string arrangements, and the overall intricate dynamics of each song. And while lead single “Whisper” might make it seem like The Dear Hunter have taken a stadium-esque, Arcade Fire approach, the album does not have the same energy – but that isn’t necessarily a bad thing. Migrant continues to spiral deeper and deeper into Casey’s thoughts, as the album begins to slow in pace with only a few energetic moments on “Girl” and in the outro of “Cycles”. However, Casey surprises you with one of the album’s shining moments, “Let Go”, a 6/8 titan of a song which builds to a massive, jazzy climax, only to wind down with the remaining two tracks. Overall, Migrant is a huge step forward for Casey Crescenzo and The Dear Hunter. The compositions are more honest and less superfluous; the lyrics are just as sincere. Casey takes a look in the mirror and shows himself to the world through what may just be his magnum opus – a conscious effort to write what he really knows, with a sincerity unmatched by any work in The Dear Hunter’s collection. Review by "Bryan Edwin" (www.sputnikmusic.com).

RATING:  8.25 / 10   **GREAT**

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*. Grim Reaper .*

Album: We Were All Fools (1979)
Genre: Prog Rock (Hard Rock/Symphonic/Psych.)  /  Germany

Brutkasten is sort of Germany's DIY label, similar to France's FLVM, England's multitude of 99 only releases, and America's 1970s tax dodge loophole labels (Guiness, Dellwood). There was no consistency to what was on Brutkasten, and one can find anything from acid folk rock (Carol of Harvest), Genesis inspired symphonic (Sirius), basement hard rock (Black Spirit, P205) and onto German pop and schlager music. Grim Reaper fits the mold perfectly. The music is sort of an American inspired hard rock, but with some old sounding organs recalling other German bands like Air or Erlkoenig. The production is pure amateur basement. Not a whole lot to latch onto here, except there are some nice melodic guitar leads that seem to imply that Grim Reaper did at least possess some talent, if not a lot of imagination. There's some nice Moog work here and there as well. 
Review by "ashratom" (Rate Your Music).

RATING:  7.75 / 10

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*. From The Ashes Of My Sins .*

Album: Sanctuary (2013)
Genre: Prog Rock (Metal/Melodic/Hard Rock)  /  USA

From the Ashes of My Sins is a melodic hard rock group from the suburbs of Washington, D.C. “Ashes” was founded in 2006 by drummer David Clark and singer/keyboardist Crystal Holton. The line-up and style was further refined in 2008 by the additions of the infamous Rob Short on bass and Justin Scrivener on guitar and mandolin. Each of the musicians involved in the project brings their own distinct style shaped from diverse musical influences. These varied musical backgrounds allow Ashes to blend elements of metal, punk, and progressive into a sound which runs the musical spectrum from energetic to haunting. When Crystal’s lyrical works and vocals are added to the mix, the final result is a unique musical experience which translates equally well through both recordings and live performances. From the Ashes of My Sins is currently supporting their first CD, “Sanctuary” which released in early 2013 to critical acclaim. They regularly perform live at regional venues, and have shared the stage with groups such as Adrenaline Mob, Eluveitie, Epica, and Grammy Award winners Living Colour. (www.cdbaby.com)

RATING:  ??????????

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*. Eminence Of Darkness .*

Album: Displace the Trace (2006)
Genre: Darkwave (Gothic/Synthpop/Electronic)  /  Germany

Songs / Tracks Listing
01.A Romantic Fume
02.Leave Behind
03.Rebirth
04.Love Destruction
05.Save Your Chance
06.Don't Take Us Like The Others
07.Return
08.It Must Be Changed
09.Crystal Image
10.Phantom
11.When Tomorrow Ends

Line-up / Musicians
Juliane Richter / Bass, Vocals
Lars Schulz / Vocals, Guitar, Programmed
Mario Bergmann / Keyboards, Programmed
Stefan Bloedorn / Keyboards (Additional) (Tracks: 3, 7, 10)
Kolja Trelle / Programmed (Additional)

RATING:  6.75 / 10

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*. Oxhuitza .*

Album: Oxhuitza (2013)
Genre: Prog Rock (Symphonic/Psych./Exp.)  /  Italy

Oxhuitza is an instrumental project created in February 2011 by guitarist and composer Luca Bassignani, who was living in London at the time. After spending a few months playing around in the English town, Luca returned to Italy and with the complicity of two musicians, Nicola (bass) and Cristian (drums), decided to start his project. Within a month, thanks also to Gabriele Guidi (keyboards), Luca recorded the songs that would be included in the first official demo. The demo had good responses and, about a year later, thanks to the interest of Mirror Records, Luca enters at Hilary studio in Genoa to record his project’s first album. In the studio Luca was also joined by Carlo Barreca (bass), Rossano Villa and Gabriele Guidi (keyboards), Christian Giannarelli (drums). Under the artistic direction of Fabio Zuffanti and Rossano Villa, Luca’s ideas are enhanced with lush arrangements ranging from symphonic prog to psychedelia, hard-Crimson atmospheres, with touches of ethnic and fusion music. The result is an album diverse and peculiar, where is easy to lose your bearings for the many subtleties and peculiarities that surprise the listener in this labyrinthine path. This is original and sophisticated instrumental music. (www.btf.it/oxhuitza.html)

RATING:  ????????

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*. La Ley (Julio Presas) .*

Album: La Ley (1982)
Genre: Prog Rock (Folk/Crossover/Hard Rock)  /  Argentina

Songs / Tracks Listing
01.No Alcanza
02.Se Que Tu Conducta
03.Verdades Inciertas
04.Una Lágrima Me Hace Pensar
05.Rock De Mi Guitarra
06.Sólo Para Alcanzar
07.Y Hoy La Luz
08.Hombres Sin Referencia
09.Vean Al Sonso
10.Al Fin Del Camino Largo
11.La Ley Puede Hacer

Line-up / Musicians
Julio Presas / guitar, vocals
Víctor Gomez / vocals
Gustavo Gregorio / bass
Juan Carlos Almirón / drums

RATING:  7.75 / 10

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*. DGM .*

Album: Momentum (2013)
Genre: Prog Metal (Melodic Power Metal)  /  Italy

DGM is a well-known Italian Progressive Power Metal band that was founded almost 20 years ago. It is interesting that there are no original members in the band now and only the name is left (which stands for an abbreviation of the first letters of founding members). Since then the band have successfully recorded 7 full-length albums in the same vein with acts such as the famous Symphony X. So it is not surprising that lead singer of Symphony X Russell Allen helped them during the recordings of the band’s upcoming 8th album “Momentum” that will be released on 26th of March on Scarlet Records. If you’re a proghead then you won’t be let down a bit as these guys totally rip through the whole set with a dazzling display of power and intrinsic playing as we come costumed to hearing from them in the past. The album follows a simple formula where odd-numbered fast tracks are changed with even-numbered mid-tempo songs and vice-versa except 2 last tracks “Void” and “Blame”. I like the positive (but not too happy) mood of the most tracks, it creates a good impression and I listened to this with a great pleasure. I also enjoyed very much the shredding guitar-keys solos which actually remind me those of Romeo-Pinella (which in their turn were influenced by Yngwie Malmsteen). However DGM is not a clone of Symphony X. The musicians almost minimize the use of sympho-elements in the music but concentrate more on bright melodies. The music is not ultra-technical or unnecessary complicated but it is complex enough for Progressive Metal and many Power Metal elements fit well here. Some moments are comparable with Galneryus though DGM is more technical and progressive than this Japan ensemble. Flashes could also be found with Dutch band Elegy, especially vocal lines of Mark Basile who reminds me of Ian Parry. It is worth saying that not only the lead singer does a great job here but all members of the band demonstrate their high class skilled musicianship. There are no weak tracks on the album but I prefer all up-tempo tracks and especially Reason (where Russel Allen makes a good guest performance), “Universe”, “Chaos” (where guitar solos were performed by Norwegian guitar virtuoso Jorn Viggo Lofstad from Pagan's Mind), “Overload” and “Void”. More tracks leave an impact as well. “Trust” is a very nice melodic song with catchy choruses; “Repay” seems to be a traditional ballad after the calm piano beginning but it surprisingly turns into powerful song. So “Momentum” is the logical successor of the previous works of DGM. This is a very strong release with only some minor flaws. For example some numbers could be more variable and different but it is just my personal preferences. Nevertheless it is strictly recommended for all fans of Progressive Power and Melodic Metal a must have!!! 
Review by "EG_Power" (Rate Your Music).

RATING:  ???????????

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*. Flaming Bess .*

Album: Wächter Des Lichts (2008)
Genre: Prog Rock (Symphonic/Electronic/Space)  /  Germany

After the frozen wasteland of "Finisterre Sonne", I didn't expect much from FLAMING BESS for the duration. They had all but abandoned their symphonic roots and acoustic underpinnings in favour of percussive tech savvy. Instead of a standalone album with a story, it played out like an audio book for which the narrator's channel had gone silent for the most part, and the accompaniment was anything but free standing let alone free living. One would have then expected "Wachter des Lichts" to be dead on arrival. Au contraire! This is actually a pretty entertaining disk in much the manner of most other FLAMING BESS output, even if the acoustic dimension remains suppressed. The vocal work of Erika Naidenow is particularly compelling in a NINA HAGEN sort of way, even if he only appears on 2 tracks. Achim Wierschem's lead guitars express authoritative allure throughout. The rhythms do not overpower. "Der Verhüllte" is a mesmerizing blend of conventional keys, sound effects, and vocal ambushes by Rene Lentin, and the raucous instrumental "Der Dieb" is just as persuasive . "Ein Langer Weg" approximates the early CAMEL-esque sound for long time fans. "Erkenntnis" seems influenced by Leipzig based DICE specially in the synthesizers. Apart from the overly industrious and metallic "Die Höhle Unter Dem Eis" and the narrative bits in general, most of the material here is enjoyable for what it is, and the group is to be commended not only for righting the ship but for simultaneously sidestepping categorization and guarding the light that is progressive rock, whatever its form. 
Review by "kenethlevine" (Prog Archives).

RATING:  7.25 / 10

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*. Daedalus .*

Album: Leading Far From a Mistake (2003)
Genre: Prog Metal (Prog Rock)  /  Italy

Songs / Tracks Listing
01.Darkness
02.Masquerade
03.Time
04.Rem 8
05.Leading Far From a Mistake
06.New 64
07.Raining
08.Flowers on Icarus' Tomb

Line-up / Musicians
Luca D'Angelo / vocals
Fabio Gremo / bass
Davide La Rosa / drums
Giuseppe Spanò / keyboards
Andrea Torretta / guitars

Former Members Appearing in the Album:
Alessio Brunetti / vocals
Andrea Rinaldi / guitars

RATING:  7 / 10

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*. Ihre Kinder .* (Remaster)

Album: 2375 004 (Jeans-Cover) (1970)(Remaster 2011)
Genre: Prog Rock (Krautrock/Heavy/Psych.)  /  Germany

The untitled album with the order number 2375 004 (often called "Jeans-Cover" because it was not packed in paper but in jeans cloth) is by most observers seen as the best record of Ihre Kinder and marks the peak in their public awareness. The album was most important at the evolving "Krautrock" scene. This album had a musical blend between American protest song, white blues and carefully set elements of electronic rock and Jazz, which had not been heard in this form and to this date in Germany. In an excellent way the songs with all German lyrics take up political and social problems of the time like overpopulation and anonymity ("Menschen wie Sand am Meer"), outsiders in the welfare state ("Straßenkind"), nuclear armament ("Toter Soldat") or drug misuse ("Weißer Schnee, Schwarze Nacht"). Especially the calm songs still sound well and interesting. In the more than 6 and a half minute long "Toter Soldat" Ihre Kinder describe the perversity of warfare in a nuclear world and produce an oppressed atmosphere with distorted organ and electric guitar chords and drum rolls that lead into nothingness. "Weißer Schnee, Schwarze Nacht" is in musical and lyrical terms the German predecessor to the Stones' "Sister Morphine" (1971) and Neil Young's "The Needle and the Damage Done" (1972). Sonny Hennig's singing maybe peculiar but still is touching here. His lyrics were seen as the most pretentious in German popular music these days. The transfer of the music to CD has not been well done. The booklet is minimalistic and doesn't mention any names of producers or engineers or a year of the cd release. Whoever these people were they couldn't stand the temptation to adjust the songs to "modern taste" by emphasizing the rythm section and so falsifying the original sound. Further the heights (especially the hi-hats) clink that it almost gives you pain in the ears. Also the digitizing didn't do any good to Sonny Hennig's voice. Review by "Peter Pan" (Prog Archives).

RATING:  8 / 10

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*. Comedy Of Errors .*

Album: Fanfare & Fantasy (2013)
Genre: Prog Rock (Symphonic/Crossover/Neo Prog)  /  UK

Having taken several decades(!) to release their first album, "Fanfare and fantasy" is Comedy of Error's second album in as many years. Since the release of "Disobey" in 2011, Bruce Levick has become a full band member has become a full band member, with John Fitzgerald also joining the line up. Fitzgerald joined late in the recording of the album, so his contribution is limited to backing vocals here, but he is now fully installed as the band's bassist. The founding trio of Joe Cairney, Jim Johnston and Mark Spalding remains intact, with Johnston once again writing all the material. While "Disobey" was a landmark album of "neo-prog", "Fanfare and Fantasy" takes a more symphonic approach, the nine magnificent tracks here being carefully crafted masterpieces of the genre. While there is a wonderful familiarity in the style of the music, it is actually rather difficult to offer comparisons or to cite influences. At times there is a Pendragon feel in the lush keyboards, the superb lead guitar solos and indeed in the vocal style. At the same time though, one could mention bands such as Yes, Genesis, Camel etc., but all the while there is something different and refreshing about what we hear that offers genuine excitement. In terms of the songs themselves, each stands alone as a symphonic masterpiece; collectively they form a truly wonderful whole. Lyrically too, Johnston has clearly spent many hours crafting each piece. "The cause" for example highlights the ubiquitous blight of religious divide. While the song clearly describes the problems that afflict his home country, the song remains the same the world over. The power and depth of the album, both lyrically and musically, is never more acute than it is here. A cursory glance at the track listing by a prog fan may lead to a focusing on the three 9+ minute tracks but in reality all nine of the songs here are prog epics. Looking at the other long tracks though ("The cause" is mentioned above), "Fanfare for the broken hearted" makes for the ideal opener, building from a fine a cappella introductory vocal by Joe Cairney through every more uplifting lead guitar (Mark Spalding) and dazzling synth bursts (Jim Johnston). "The answer" closes the set with a suitably anthemic atmosphere, cumulating in an early Genesis style mellotron finale. "Time's motet and Galliard" is interesting in that it is a two part piece with a traditional feel. The first part, "Time's motet" is a delightful instrumental, apparently dothing a cap to the 16th century composer Thomas Tallis. This becomes the folk influenced "Galliard", a fine Strawbs like number with mellotron style synths. Completing the set, we have "Something she said", a 7 minute piece that sets out with something of a Yes feel, including Wakeman style organ. Here we are also treated to a wonderful blend of Emerson style keyboards and Pendragon-esque lead guitar. Try hard as I might to resist singling tracks out, this is a truly wonderful composition. "Going for a song" contrasts a distinctly upbeat melody with some decidedly stark lyrics. Johnston's Tony Banks like keyboard bursts punctuate the searing guitar and synth interludes and layers of chorale keyboards. "In a lifetime", "Merry dance" and "Remembrance" are the three shorter songs, but each nonetheless stands as a mini prog epic. I am aware that I may appear to be overdoing the superlatives here. Believe me though, this is a truly special album. Anyone with a love of traditional prog would be well advised to partake of its delights, you will not be disappointed. Review by "Easy Livin" (Prog Archives).

RATING:  9 / 10   **FANTASTIC**

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*. VOLA .* (Singles)

Single 1: Homesick Machinery (2008)(4 Track's)
Single 2: Golden Lighthouse Failure (2010)(1 Track)
Single 3: Monsters (2011)(4 Track's)
Genre: Prog Metal (Alternative/Electronic/Exp.)  /  Denmark

VOLA hunts and takes down rainbows from the sky, loads them on their backs and carries them to a black and white world where sudden contrasts shoot up like surreal architecture. A process, in which undefinable but colorful creatures are shaped and given life. The band exists in a grey borderline area of metal, where the musical ideas are portrayed in the clash of the immense, complex and ballistic, and the melancholic, ambient and transparent. VOLA forms pummeling bursts of distortion, itchy synth lines and constantly groove-driven drums entangling wide vocal harmonies, gloomy soundscapes and layers of deep-blue-textured electronica. From a distance this may look like an unhandy and inaccessible being, but it is also a being that you can get to know well, if you step into the frames and take a closer peek. It is not for everybody, but possibly for you. Welcome.(www.volaband.com)

RATING:  7.25 / 10

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*. Untoten .*

Album: Eisenherz (2012)
Genre: Darkwave (Gothic Rock)  /  Germany

Songs / Tracks Listing
01.Die Schwarzen Vgel
02.Eisenherz
03.I Am Luzifer
04.Morgenstern
05.Infernio
06.Ich Folge Dir
07.Das Schwarze Buch
08.Mein Letztes Wort (Mi Ultima Palabra)
09.Brenn,engel,brenn
10.Teo Veo
11.Die Hllenfahrt
12.Engel Oder Teufel
13.Ich Folge Dir (Mix)
14.Darkest Night
15.Morgenstern II
16.Criaturas

Line-up / Musicians
David A.Line / composer, lyricist, musician
Greta Ida Csatlos / vocals, singer, fine artist
Zebastian Lupus / guitar
Heidi Lindenberg
Tanja & Maria

RATING:  7.5 / 10

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*. Tom Slatter .*

Album: Three Rows of Teeth (2013)
Genre: Prog Rock (Crossover Prog)  /  UK

Tom Slatter is a singer-songwriter from London who writes steampunk and sci-fi inspired prog-rock songs. Described by the Steampunk Tribune as, ‘an experiment too far’, his music lies somewhere between Radiohead, early Genesis and Nick Cave. In March 2013, Tom will be releasing his third solo album, Three Rows of Teeth. The new CD contains songs about such clichéd subjects as fake spiritualists, murder, time travel, replacing one’s body parts with mechanical alternatives and flying an airship into a cloud full of birds with too many teeth. There is also mention of ravenous church steeples. Three Rows of Teeth follows on from 2011′s IronBark, an acoustic guitar driven collection of 8, or 4 (depending on how you count them) narrative steampunk prog rock songs. For the new record he has turned up the guitars and let in more of the rock/metal influence on a few of the tracks, without losing the acoustic folk feel from previous work. In an effort to fully exploit the prog-rock market he has also made sure to play in several different time signatures, and has included an epic twenty minute three song suite to close the record. He denies rumours that he wore a cape when recording the guitar solos. (www.tomslatter.co.uk)

RATING:  ??????????????

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*. Mesoterra .*

Album: Mesoterra (2012)
Genre: Prog Rock (Alternative/Rock/Metal)  /  USA

MESOTERA is an American Rock band based just on the Pacific side of the gateway to the West in a little town called St. Louis. The rather eclectic group consists of David Brown (Lead Vocals), Jesse Cox (Guitar/Lead Noise Maker), Matt Nichols (Bass/Vocals) and Mike Steinmetz (Drums). (www.epk.mesoterramusic.com/)

Songs / Tracks Listing
01.After School Special
02.Prey for the Wicked
03.Toe the Line (Slave)
04.Lift
05.Nycon
06.Father
07.Plastic 2.0

RATING:  ??????????

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*. No Man's Land .*

Album: Zalion (1988)
Genre: Psychedelic Rock (Neo Psych./Crossover/Pop)  /  Greece

Songs / Tracks Listing
01.Shoot that moon
02.Escape my soul
03.Down by the riverside
04.Following you down
05.Take
06.Improbability drive
07.Black horse
08.Keeping secrets
09.Last depot blues
10.Madness

Line-up / Musicians
Vassilis Athanassiades / vocals, guitar
Evi Hassapides-Watson / vocals, guitar
George Papageorgiades / bass
Agis Gravaris / keyboards
George Nikas / drums

RATING:  8.25 / 10

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*. N.O.W .*

Album: Bohemian Kingdom (2013)
Genre: Hard Rock (AOR/Melodic Rock)  /  Brazil & USA

I may have possibly mentioned this before but here goes again; there's far too much stuff out there of a similar ilk. Far too much, to the extent that it's becoming difficult to find the words to accurately describe the differences between the myriad of releases. At the moment my inbox includes the new platters from N.O.W (obviously), Diamond Dawn and Shannon, all of whom play a similar type of melodic rock. I like them all, they're all fairly anachronistic and really don't have much of a place in today's musical landscape but they're pretty good. Does that count for all three reviews? One of the obvious touchstones for N.O.W is Foreigner and "Strong Enough" would have probably been a contender in the mid-1980s as it is a quality power ballad and vocalist experienced Philip Bardowell gives it his best Lou Gramm/Kelly Hansen. The middle of the album is the strongest part as the excellent "Mary Ann" follows "Strong Enough" and the PR bluff's Boston comparisons actually seem not to be pie-in-the-sky for once. It's also fabulous to see a saxophone make an appearance on that particular song; there can never be enough horns in melodic rock. Generally Escape Music don't release crap and this is another good release from them although I suspect that fans of the melodic rock genre would already be aware of this and be suitably alerted to this fact. 

Review by "Simon Bray" (www.seaoftranquility.org).

RATING:  7.5 / 10

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*. Oktober .*

Album: Die Pariser Commune (1977)
Genre: Prog Rock (Symphonic Prog/Political/Folk/Psych.)  /  Germany

Songs / Tracks Listing
01.Prolog: 1830 - 1851
02.Teil 1: Unser Blut - Ihre Geschichte
03.Teil 2: Die Tage der Kommune
04.Zwischenlied
05.Teil 3: Der Untergang der Kommune
06.Teil 4: Unser Blut - Ihre Geschichte
07.Epilog: Lob der Dialektik

Line-up / Musicians
Kalla Wefel / bass, guitar, vocals
Peter Robert / organ, synthesizer, spinet
Carl-F. Dörwald / vocals, flute, percussion
Hans-Werner "Hansi" Schwarz / guitar, percussion
Pierre Meyn / guitar, bass
Michael Iven / vocals, guitar, keyboards
Klaus-Peter Harbort / drums, percussion

RATING:  8.5 / 10   **GREAT**

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*. Orion's Beethoven .* (2 LP on 1 CD)

Album: Superangel / Tercer Milenio (2006)(2 LP on 1 CD)
Genre: Prog Rock (Heavy/Psychedelic)  /  Argentina

Superangel (1973) : Orion's Beethoven were formed in Buenos Aires back in 1969, by the Bar brothers, Ronan (or Román?) and Adrian, with singer Petty Guelache and drummer José Luis Gonzalez; they released finally album in 1973, this Superangel, that all along its 4 tracks features a sort of admixture between the hard rock a la Black Sabbath, with the style of symphonic bands o those time, like Genesis or King Crimson. The songs are mostly long and -honestly-, not too cohesive, though they feature cool details that keep the interest of the listener turned on. The first and longest track "Superangel", which is divided in three parts, fills the side one, and clocks in at 17 + minutes, alternates the heavy rhythms with more intricate passages, the Leslie effect on the vocals and even some saxo in the end. On the side two, the shortest song, "Retrato de alguien", brings heavy blues with a jazzy edge, followed by "Hijo del relámpago", this is another long track, that fills a good share of the side, with its 12 minutes of running time, basically more obscure and jazzy blues a la early Black Sabbath, with some psychedelic touch, though not too compelling; enjoyable anyways, because of its raw and almost amateurish sound. In the end is the 6-minute + "Sinfonía # 8 en B menor", instrumental loosely inspired on Franz Schubert, with vocation for the heavy guitars and some pretentiousness privative of the era. Not a bad album, though it's quite far from a masterpiece, besides its deficient production, probably the worth of this Superangel is in its crudeness, a certain daring spirit, and why not: a beautiful artwork, created by Loreley Bar (a sister of the Bar brothers I assume). Quite an anti-commercial album, with nonexistent airplay, though still comes like an enticing mix of art rock and heavy psych. 
Review by "death_metal_doll" (Rate Your Music).

Tercer Milenio (1977) : This Argentine band Orion's Beethoven released a second album in 1977, after a hiatus of 4 years since their first one Superangel, this time around more oriented toward a pure hard rock, with Deep Purple and Black Sabbath reminiscences: "Tercer milenio" (third millennium). The first track "Amistades desparejas" reminds effectively of Deep Purple, or even of the Rainbow with Ronnie James Dio, which is followed by an acoustic song "Ella y los colores", fine song though a little depressing for my taste. The third track is one of the highlights, "Niño del tercer milenio" (child of the third millennium), featuring 8 minutes with a good job of Adrian and Ronan Bar on guitar and bass, dense metal riffola, typically Sabbath-esque, and some futuristic keyboards touch. A more conventional hard rock is "Canción del lobo" (wolf song), bluesy and with female backing vocals. "Viaje" or "Viaje de siglos" (voyage of centuries) is another long track (9 minutes), featuring a beautiful melody wrapped in acoustic guitars and epic mood, that brings Queen's "The prophet's song" vaguely to mind. For the end there is a sort of 70s' metal cut that, once again, reminds strongly of the Vol.4 Black Sabbath, with its low-tuned riffage and shifting tempos: "Hermano silencio". Notwithstanding the production of this album is not the best, it still sounds better than their first LP, and possibly having more clear ideas but, on the other hand, this Tercer milenio is less daring than Superangel, so we could say it's a draw, or almost. This is the last chapter for Orion's Beethoven, in the early 80s they would redefine their style and crop the name to Orions, releasing two albums of simpler hard rock and rock & roll, and also having some success and airplay, but the band would call it quits in the mid 80s, finally. 
Review by "death_metal_doll" (Rate Your Music).

RATING:  7.25 / 10

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*. Leo Nero .* (Remaster)

Album: Vero (1973)(Remaster 2001)
Genre: Prog Rock (Symphonic/Pop/RPI/Art Rock)  /  Italy

Leo Nero is the assumed name of Gianne Leone, the keyboardist and mastermind behind the legendary RPI band Il Balletto Di Bronzo, whose 1972 album 'Ys' is considered one of the true classics of the serious RPI aficionado. That band split shortly afterward and Nero/Leone left for the United States in the mid 1970s. He recorded this album in 1976 in New York City before moving to Los Angeles for a few years, eventually heading back to Italy. He played all of the instruments on 'Vero' making it a true solo project. It is written he was hanging out with the New York Dolls around this period, perhaps sharing their love for bold self-expression. 'Vero' certainly lacks the heaviness and serious aura of 'Ys' but it stands on its own as a worthy successor, an incredible little album full of charming moments. I love this album and feel it should grace every serious RPI collection even if it begins to move in a more art-rock direction, not unlike the early Gabriel solo albums broke ranks with the Genesis sound. Nero moves from the classic heavy progressive rock into somewhat more accessible territory here, but the love for experimentation remains alive. He tries and succeeds at creating a very personal, intimate sound, one that retains drama but also doesn't take itself quite as seriously. For me 'Vero' functions as well as many of the solo albums I've heard by acclaimed Italian artists like Battiato, Battisti, or Rocchi. I truly enjoyed getting to know it. Continuing the Gabriel analogy, one can sense that 'Vero' reflects a man moving away from the youthful camaraderie of 'the band's music' to music which more closely reflects his own personal feelings at the time. Without creative compromise, and playing all instruments, Nero is free to go wherever he wishes. In the first four tracks he is largely introspective and fairly traditional. Lovely and simple songs based on gorgeous piano playing and generally upbeat vocals, sentimental mood, and drumming that is intermittent and blue collar (not too fancy.) Things change with 'La Bombola Rotta' when the soft, melancholic opening hits a dramatic and loud boom! This ushers in a tortured, mega-saturated guitar solo which screams like Neil Young throttling his black Les Paul, eventually transitioning to some virtuoso piano playing to finish. I can't stress the quality of Leo's piano playing. While he does play some synth, organ, and mellotron, this album is a piano lover's treat. From here the second half of the album gets more mischievous, with 'Tastiere Isteriche' taking some side roads into jazzy sections and light, tongue-in-cheek avant-garde. 'Il Castello' sounds a bit art-pop in a Tai Phong style, while 'La Discesa' employs strange voices and bizarre, somewhat dissonant keyboards. 'Rock and Roll Cat' is just a bit of silliness before the closer 'Una Gabbia Per Me' hauls out heavy, doomy, distortion-laden power chords. While I can't quite call it a masterpiece by PA definition, it is for me one of those perfect little albums from the 1970s that encapsulates what I personally love about music. Feelings over form, a gentle human touch over all of the flash and formula hawking too many of today's high profile releases. If you don't go into it expecting another Il Balletto Di Bronzo album, you might just be very pleasantly surprised. Heartily recommended to RPI fans, especially those who love the 70s sound, with plenty of warm piano, a little mischief, and a bit of the 'singer-songwriter' vibe. 

Review by "Finnforest" (Prog Archives).

RATING:  8.25 / 10

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*. Crayon Phase .*

Album: Within My Recollection (2013)
Genre: Prog Rock (Neo Prog)  /  Germany

CRAYON PHASE is a progressive rock band from the ruhr area and moving musically somewhere between Neo Prog and New Art Rock, between bombast and 13/8 and between rock out and easy listening. The music reflects a wide range of sounds and atmospheres: sometimes melodic and playful, then back to hard rock, sometimes epic, sometimes dynamic, often complex and tricky, but also straightforward and intuitive. CRAYON PHASE has just completed their debut album “Within my Recollection” on 2012, publishing it in February 2013. All songs are joined into a concept album of about 70 minutes dealing with different experiences of a person and his human weaknesses, desires and wishes. The band’s influences are based on classical and modern prog bands from Genesis, Yes, Pink Floyd over Marillion, Saga, Rush, up to Spock’s Beard, Porcupine Tree and Subsignal. Basically they want to part from the paragons, to sound less retro with more modern sounds by creating their own interpretation of the various elements of progressive rock and to recognize an own handwriting. Therefore on the album are short 3-minute songs as well as 16-minute epics. All band members have many years of musical experience in numerous bands and projects and therefore are able to present their complex music both in studio and on stage. So give it a quick listen… (www.crayon-phase.de)

RATING:  ?????????????

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*. Osada Vida .*

Album: Particles (2013)
Genre: Prog Rock (Prog Metal/Crossover/Heavy)  /  Poland

Polish band Osada Vida have seen their reputation grow steadily through the release of some of the finest prog albums of recent years. Since the appearance of the excellent 2009 album 'Uninvited dreams', Marek Majewski has joined the band as lead vocalist, transforming the line up from a quartet to a quintet. Majewski also provides most of the lyrics, the band collectively being credited with writing all the music. The album sees a natural evolution in the band's approach, rather than wholesale changes. The cover art offers an immediate indication of this, being lighter and simpler than previous albums. The concept album approach is set aside in favour of presenting nine strong, individual pieces each intended to stand alone as a complete piece. We also have a rare cover version , of which more later. The opening track, 'Hard-Boiled Wonderland' will be familiar to those who investigated the band's first DVD last year, as it was the only unreleased song included in that gig. The track blends influences such as Yes and King Crimson in an off-beat but rhythmic heavy guitar driven piece. While the pounding riffs are deliciously heavy, the feel is lighter than previous albums. 'Stronger' is the first of the tracks to fully reveal the band's stated ambition for this album of presenting something more accessible while retaining the musical integrity that has served them so well to date. The highlight of the song is some fine guitar and keyboards interplay between Rafał Paluszek and Bartek Bereska. 'Fear' retains the pulsating enthusiasm of its predecessors, the infectious choruses leading to the repeated climactic refrain of the song's title. 'Those days' offer something of a breather; while hardly a ballad, the songs is lyrically reflective and musically a bit softer. The track closes with a fine lead guitar solo. The lyrics of 'Shut' (and 'Hard boiled Wonderland') are written by Bereska, with Sivy of the Polish metal band Tuff Enuff providing growled type vocals and a dynamic lead guitar solo. The growled verses alternate with melodic choruses in a song that is something of a departure for the band from their prog foundations. The contrast between 'Shut' and the following 'David's Wasp' is huge, the latter being a soft, drifting instrumental featuring some of Bartek Bereska finest soloing. 'Different worlds' maintains the more direct approach, while 'Until you're gone' is an out and out rock ballad with an anthemic chorus. The album closes with 'Mighty world', a song that returns us to the heavier frantic riffs of the opener, the positive vibes of the chorus making for a suitable ending. One bonus track is added to the album in the form of a cover of Metallica's 'Master of puppets'. The song is actually more of an interpretation with a piano based jazz rhythm underlying the light vocals. Overall, an album that represents quite a shift for Osada Vida. While excellent musicianship and fine production may be taken as read, the generally more accessible nature of the songs should appeal to a wider fan base while continuing to satisfy those who have followed the band thus far. 
Review by "Easy Livin" (Prog Archives).

RATING:  ??????????

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*. Chandeen .*

Album: Shaded by Leaves (1994)
Genre: Darkwave (Neofolk/Dream Pop/Electronic)  /  Germany

Songs / Tracks Listing
01.Waterscapes
02.Lumis
03.Red Letter Days
04.Mourning Was Driven Ashore
05.Darkness
06.Silent Gods - Part I
07.Silent Gods - Part II
08.The Loss Of Summer
09.Recall Me
10.Journey To The Land Of Wisdom
11.Dawn
12.Scottish Hills
13.No Warm Smile Reunions The People (Silent Gods Reprise)
14.Reliance
15.Raindance
16.Hope And Violence
17.The World Of Lost And Found (Epilogue)

RATING:  7.75 / 10

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*. The Black Angels .*

Album: Indigo Meadow (2013)
Genre: Psychedelic Rock (Garage Rock/Neo Psych.)  /  USA

Galloping at full speed all the way from Texas, The Black Angels come baring the gift of new music in the form of new album Indigo Meadow,  so I threw on the Cowboy hat and chaps and sat down for a listen. OK, so I perhaps I didn’t need the hat and chaps, it’s hard to listen to Psychedelic music when you look like a resident at the Village People retirement home but despite this oversight I managed to plough on. There’s a classic air about this album, it feels like a classic, like I’m going through my mums old LP’s and discovering something exciting and dusty, but old these guys are not, brining a new slant on a classic sound isn’t an easy job. It takes skill to do this kind of music without sounding like a poor quality covers band and The Black Angels do a good job of keeping an old sound fresh, no more so than in top tracks Evil Things and Don’t Play With Guns. Both tracks keep the melodic sound but chisel in a more modern beat with some moments of clarity. Later on in the album the guys stumble in Eels territory and the sound becomes more classic rock than classic glam with some true moments of inspiration. The Black Angels deliver a good album with some great tone, the lyrics are solid and it’s exactly what we expected from this band, real psychedelic stoner-rock with a classic feel. Time to loose the Cowboy hat and throw on the wig, platform shoes and shirt and roll myself something tasty. Review by "Machine Steve" (www.theblackflag.co.uk).

RATING:  ?????????????

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