*. Museo Rosenbach .*

Album: Zarathustra Live in Studio (2012)
Genre: Prog Rock (Symphonic Prog)  /  Italy

It does what it says on the tin - RPI heroes Museo Rosenbach reunite nearly 40 years later to re-record their landmark 1973 release Zarathustra note-for-note. Founding members Stefano "Lupo" Galifi (vocals), Giancarlo Golzi (drums), and Alberto Moreno (piano) are assisted by an ample cast including guitarists Sandro Libra and Max Borelli, bassist Andy Senis, and keyboard player Fabio Meggetto. The extra hands on deck allow Museo to realize and revitalize the album without compromise, and fully cover all the integral parts of the original. The running order has been altered somewhat, placing the climactic "Zarathustra" suite at the end, as performed in concert. The sound is decidedly modern, bringing the somewhat hastily recorded original into the 21st century with a heavier edge. Always a Heavy Prog group, the new Museo Rosenbach almost skew Progressive Metal, primarily due to the thrash tone of the guitars. The whole production reminds me a lot of Claudio Simonetti's work with Daemonia, and how the Goblin catalog was interpreted. This can be good or bad depending on how you look at it; while I would love for Museo Rosenbach to have new-found success and get the attention they deserve, in my opinion there is nothing wrong with the original album. Quite the contrary: Zarathustra is an essential RPI pillar and one of the top five Italian Prog albums in nearly everyone's list. Though this new Zarathustra will never replace the original, the more the merrier I suppose. "Dell'Eterno Ritorno" is prefaced with a newly-penned "Intro" section - I hear some middle- eastern influences and don't quite understand the connection but the song proper begins soon enough. I was taken aback immediately by the crisp, modern production; I expected Live in Studio to sound good, just not this good. For a live album, the performances are spot-on and maybe even a little too perfect. Lupo sounds like he hasn't aged a day and his voice is in incredible shape. Golzi and Moreno also provide impressive contributions, doubly so for Moreno who also serves as bandleader and artistic director. "Degli Uomini" and its immediately recognizable Mellotron intro take things up a notch in the energy department. The keyboard sounds are actually pretty authentic for software synths - of course I would prefer the genuine article, but from a logistical standpoint they make more sense. "Della Natura" is an accurate portrayal of the original, though some liberties are taken here and there. The palm-muted guitar technique is overdone at times, but the general spirit of the song is never lost. The 22-minute "Zarathustra" suite and its five movements are faithfully reproduced, though the new band members are permitted to leave their stamp and make it their own. Andy Senis in particular does a great job re-imagining some of the bass lines, in many cases improving upon the original. Again the keyboards are tasteful for the most part and Golzi is just a beast on the drums. Live in Studio is well done if somewhat unnecessary. I would much rather hear some new material or have a DVD of the performance instead. As a contemporary release it is still miles better than 90 percent of music today, and the timelessness of the original is fully vindicated and celebrated. And it's a lot of fun. 
Review by "coasterzombie" (Prog Archives).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Camel .* (Japan Remaster 2013 + Bonus)

Album: Mirage (1974)(SHM-CD Remaster 2013 + 4 Bonus)
Genre: Prog Rock (Symphonic Prog)  /  UK

Though there are many progressive rock albums more masterful and innovative than "Mirage", I think that it's safe to say that this album is the definitive progressive rock album. "Mirage" is a classic progressive album with some incredible musicianship that has inspired many artists, including Mark Knopfler (as seen in the guitar melody at the beginning of "Lady Fantasy") and less notably David Gilmour. The album contains some great riffs and melodies, and has a nice vibe of mysticism. What never fails to impress me on listening to this album, is the way it builds an atmosphere with every song. Here is a review of each of the five tracks. "Freefall" is a classic Camel track, fast paced and exciting. The song kicks in with a chilled out groove that is set to make even the straightest of souls kick back and grove along. "Supertwister" is one of the greatest flute jams of the 70s. The flute melody speaks just beautifully and seems to tell a story. Very catchy instrumental. "Nimrodel / The Procession / The White Rider" is a homage to J. R. R. Tolkien's "Lord of the Rings" and it is just incredible. The musical atmosphere here is spectacular, and it never fails to sweep me into the Tolkien-esque landscape of flute, organs, and the sweeping guitar tone that gives this piece of music such a rounded finish. "Earthrise" is probably my least favourite track on the album, but it is by no means a "skip track". The song is a fast paced instrumental that is mainly mellotron and guitar dominated. There are some very nice melodies here. "Lady Fantasy" is the best known Camel song, and for good reason. The guitar melody has a very Mark Knopfler feel.Though I think that the song is inferior to track 3, it is a very nice track and is probably the definitive 70s prog track. The musicianship in this album is just superb, and though the album sounds quite 70s, it has dated very well. I highly recommend the CD remaster of this album. It is a reasonable price, beautiful sound quality, and though I generally object to bonus tracks, the live recordings on this disc are quite listenable. I recommend this album as Camel's greatest work, and as an introduction to progressive rock. 
Review by "The Mystical" (Prog Archives).

RATING:  9.25 / 10  **Masterpiece**  FANTASTIC SOUND QUALITY

.

*. Rémi Charmasson Quintet .*

Album: The Wind Cries Jimi (2013)
Genre: Jazz Rock Fusion (Acoustic/Exp./Prog)  /  France

La montagne Hendrix. Pour la gravir, faut-il emprunter les voies les plus prestigieuses, essayer de les parcourir plus rapidement, plus sportivement que les prédécesseurs ? Faut-il ouvrir un nouveau passage, qui éclaire l’œuvre d’une lumière nouvelle ? Rémi Charmasson et son quintet privilégient une approche médiane, restant fidèles à l’affection particulière du gaucher de Seattle pour la composition, tout en reléguant au second plan son image, la plus célèbre, de guitar hero. Certes on entend sur The Wind Cries Jimi quelques soli d’anthologie - en particulier dans « Wait Until Tomorrow », déferlement d’énergie saturée sublimée par la pédale wah-wah et les effets de superpositions. Mais le choix du répertoire indique clairement que le groupe préfère se concentrer sur des morceaux plus écrits. On ne trouvera donc pas ici les « Hey Joe », « Wild Thing », « Purple Haze » et autres « Red House », titres subissant certes de véritables traitements de choc lors des concerts de Hendrix mais harmoniquement plus minimalistes. Le quintet a retenu des titres représentant bien l’essence de la composition hendrixienne et insistant sur son côté « pop » : « Burning of the Midnight Lamp », « One Rainy Wish », « Little Wing »... Les digressions harmoniques de Perrine Mansuy contribuent largement à révéler encore davantage cette richesse d’écriture. Par ailleurs, les arrangements mettent en valeur les morceaux en tant que chansons, notamment grâce à l’interprétation de Laure Donnat, véritablement habitée par les textes qu’elle s’approprie magistralement en contournant la mélodie et poussant très loin l’art du rubato. On pourra s’étonner d’entendre, en fin d’album, « People Get Ready » de Curtis Mayfield : ce dernier ayant exercé une influence significative sur Hendrix, on y verra une manière de le contextualiser dans les années soixante, au lieu de le restreindre à une météorite qui aurait tout changé en moins de quatre ans. La longue citation de « Hey Jude », à la fin de « The Wind Cries Mary », relève de la même démarche. La plus belle réussite de The Wind Cries Jimi est de donner envie de réécouter Hendrix. Non pas pour préférer l’original à la copie, mais pour redécouvrir toute la richesse d’une œuvre parfois masquée par la démesure purement guitaristique du musicien. L'examen des "Arnaud Stefani" (www.citizenjazz.com).

RATING:  8.25 / 10   **GREAT**

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*. Jericco .*

Album: Beautiful In Danger (2013)
Genre: Prog Rock (Crossover/Alternative/Rock)  /  Australia

A band’s debut album is always a momentous occasion, and for powerhouse Melbourne rock act Jericco, theirs is no exception. After two incredible EPs, a live album and literally hundreds of live shows across the nation, Jericco unleash Beautiful in Danger on April 19th, and kick off a massive bout of touring from May 2013. Produced by the great Forrester Savell, the album marks a stylistic change for the band, with their epic sound being honed and refined into 11 streamlined, accessible but still powerful rock anthems. The band have created something very original, and very beautiful in Beautiful in Danger, and it is set to take its place alongside the great debut records in Australian rock. (http://jericco.bigcartel.com)

Songs / Tracks Listing
01.Dance Like No One's Watching
02.Your Favourite Song
03.Cigarettes And Conversations
04.Circles And Squares
05.Monsters
06.Rose Coloured Glasses
07.Congratulations
08.Moonlight Highlights
09.The Executioner
10.The Art Of Illusion
11.Beautiful In Danger

RATING:  ???????????

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*. Residual Echoes .*

Album: Firsts E.P.  (2007)(EP 5 Track's)
Genre: Psychedelic Rock (Space Rock/Heavy/Jam Band)  /  USA

OK, who put the Benzedrine in Residual Echoes’ Ovaltine? Time was when bandleader Adam Payne and crew seemed never to have met a song they didn’t want to stretch out, flail around in an echo canyon, then wrap around a couple California palm trees just high enough for the swallows to become entangled in its cloth. But not on First EP, which is their fourth and shortest record. On its first two songs, the echo unit is intact, but the tempo’s accelerated to the point where young dudes will want to punch the air, hoist their imaginary guitars over their shoulders, and do scissor kicks ’til their knee braces fall around their ankles. Even the guitar freak-outs adhere to loud, fast rules. To further confound things, the third song, “Wipe It Up,” is a Blake Babies cover. It’s hoarsely shouted rather than chirpily yelped, but otherwise presented without a shred of irony or disrespect. The fourth, “Fresh Eyes,” picks an earlier point on the memory lane timeline, specifically the moment when it seemed possible that Hüsker Dü and the Meat Puppets might peel down the same psychedelic alley, eclipsing the double nickels on the dime. Turns out they’ve moved to Los Angeles, so maybe Residual Echoes have been pulling out their old SST vinyl. Only “Strawberrytes” stretches out like the Residual Echoes of yore, and even that is taken at a flat-out rate that makes me wonder if they picked out a virgin teenaged track star for a drummer. I’m not sure if there’s much behind the catchy melodies, fast beats, and superballing wah-wah licks, but does there really need to be? After all, it’s only a “First EP.” Review by "Bill Meyer" (www.dustedmagazine.com).

RATING:  7 / 10

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*. The Ultra Electric Mega Galactic .*

Album: The Ultra Electric Mega Galactic (2013)
Genre: Psychedelic Rock (Space Rock/Stoner/Exp.)  /  USA

A great intro to this record lets you know its time to get ready for a "ride."Classic stoner effects and impressive job in mixing to create that sound. Band members, Mundell, McCoy and Ferrante, intertwine melodies while remaining locked into a groove. They take turns in being the dominant voice of the song. Strangely relaxing to listen to, even though the guitar screams, beautifully above the rest at certain points. Impressive job in mixing all of that on a musical and technical level. The guitar introduces new riffs and melodies throughout the record with a "slashing" effect, which sounds like a special combination of wah and distortion. This reminded me of what made all the classic Monster Magnet material so much better. Stand out songs include "In The Atmosphere Factory for it's perfect representation of the record as a whole. "The Man With A Thousand Names" features intelligent use of harmonies and choice instruments to create a vibe that's meditative. It will have you asking, "Am I in the desert seeing things and under my happy spell?" This is groove oriented rock music, taking you all over the place with varying speeds and intensity. Truly an experience. Highly recommend hearing this through quality headphones to get the full effect, the first time around. Prepare to have your head rock back and forth, like a hippie on a good trip. Review by "Chris Marti" (www.cdbaby.com).

RATING:  8.25 / 10   **GREAT**

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*. Message .*

Album: Astral Journeys (1978)
Genre: Prog Rock (Hard Rock/Funk/Jazz/Psych.)  /  Germany

The re-re-reconstituted Message, after much deliberation, finally arrived with their sixth album. Female vocalist Anna Haigis was gone (the only recorded evidence of her even being in the band was the early, extended version of "World Keeps On Turning" from the BRAIN FESTIVAL II double LP) replaced by Sammy Kunig. I'd say this particular album was a rather hard rock/prog in the style of Eloy or Jane. Lacking a full-time keyboardist, bassist Reiner Nagel doubles on keys, including lots of Hawkwind-style freakout synth stuff on the absurd "Feeling So High" and the dark and histrionic "All In A Dream". The album's prog epic is the textural, almost meditative "This Life Is Short", complete with philosophical lyrics. The album's actually fairly diverse sounding, exploring also funk-jazz on "Places", folk-rock on "City of Fright" and philosophical piano balladry on "I Feel Glad". The latter is practically a'cappella, with piano backing played by Nektar's Allan Freeman. Not the band's high point, and too inconsistent to be of real interest to any but a handful of collectors. Nonetheless, it's not bad. Review by "Progbear" (Prog Archives).

RATING:  7.5 / 10

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*. Janus .* (Remaster 2013 + Bonus CD)

Album: Gravedigger (1972) (Remaster 2013 + Bonus CD)
Genre: Prog Rock (Heavy/Psych.)  /  Germany

I'm not too crazy about re-masters, re-mixes, anniversary editions, box sets, BBC Sessions etc and it seems that everyone has been doning it since the Elvis gold box sets of the seventies came out followed by Spingsteen in the eighties and then in the nineties when Pink Floyd and Led Zeppelin turned it into an epidemic.I see it only as a way to milk, re-hash and scrape a product over the coals for the almighty $. I'll have to admit, paradoxically, that I was probably one of the first owners of the King Crimson and Gentle Giant CD box sets that started appearing in the late nineties for the very reason that I am sick for the progressive bands of the glorious seventies. But for the most part I am happy with my vinyl originals of which I prudently bought multiple copies back when they were on the wane and plentiful. I originally pulled my copy of Janus' legendary Gravedigger LP out of a second hand shop in Montréal for $2.50 in 1977 on a whim. Even by that time Janus was in the " where are they now?" file but thanks to the internet this unusual album has acquired a mystique being bootlegged over and over both on CD and vinyl and fetching ridiculous prices on collector sites and eBay without anyone even being aware that the band continued on in one incarnation or another between 1989 and 2005! It seemed that the Gravedigger album was destined to become the band's epitaph until original members Colin Orr and Bruno Lord discovered recently that EMI ( Germany ) still had most of the master tapes in their possession after tearing up Janus' contract 40 years ago amidst dodgy Spinal Tap-like events. Truth be told, that through all the blur they discovered that the final product, engineered by technicians used to recording classical music, wasn't to their satisfaction and not representative of the way they really sounded. But, as a young band were more than happy to get a record out none the less. Unfortunately the engineering flaws would haunt them for 4 decades. After reconciling with EMI a definite remaster and a complete remixing of the album took place in the summer of 2012 with two tracks ( I Wanna Scream & Suma Manatilly ) being completely re-recorded because the original masters could not be located. For this guitarist Colin Orr used the his original 1962 Gibson SG Junior in order to re-create the tracks how they should have sounded back in 1972 and substituting modern back-up harmony vocals on Suma manatilly courtesy of his two daughters Rikki and Thea along with Ben Stafford. I was knocked over when I first heard the re-mix. Not only do the heavier tracks have a sharper more mertallic edge but everything has been brought up front right in your face. The 21 minute showpiece doesn't seem plod along as much even though the tempo remains unchanged. The whole album sounds like it has been put under a sonic magnifying glass and to tell the truth, I don't think that I'll ever listen to my vinyl LP edition after hearing this state-of-the-art rework. Also Included are two tracks from the one and only Janus single from 1972, I'm Moving On / I Don't Believe in remastered form making this a definite Gravedigger edition. Everything here ( with the exception of the two re-makes ) is taken from 1972. This certainly makes the deleted 1992 SPM-WWR Gravedigger CD release redundant and excludes it's bonus tracks which were recorded in 1990 and had nothing to do with the 1972 EMI sessions. Despite my disdain for this sort of package I thought it was a good idea to include a remaster of the original album for comparative purposes or just in case for some weird reason the remix is not to the satisfaction to fanatical analog purists. Also, of course, for fans of the resurgence of progressive rock in many parts of the world. The only nit I would have about this superb project is directed at EMI and not to Janus mastermind Colin Orr who oversaw this brilliant effort. I think EMI could have done a bit more with the iconic artwork. The 1972 image of the skeleton in the top hat crawling through the sand seems to say " I'll be back someday, but bye for now folks".I think some sort of a tongue-in-cheek play-up would have have been cool. Otherwise a stellar effort in setting the record straight on an unusual classic work of progressive rock from the glorious seventies 40 years after the fact! Pristine job here. Review by "Vibrationbaby" (Prog Archives).

RATING:  8.5 / 10

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*. Haarband .*

Album: Haarband (1981)
Genre: Prog Folk (Acoustic Folk)  /  Netherlands

Songs / Tracks Listing
01.Mrs. McDermott
02.Normaal
03.Twee Vriendinnen
04.Klein Kindje
05.Polka
06.Na Alle Dingen
07.Aan Jan, Piet, Klaas ...
08.Johnny Be Fair
09.Paspoort
10.Bejaardentehuis
11.Part Time Pot
12.De Geraffineerde Onderdrukking
13.Cherish The Ladies
14.Slotnoot

Line-up / Musicians
Sanne Singer / Guitar, Vocals
Xandra Veltman / Flute, Vocals
Corien Unger / Violin
Pia Lodeweeg / Percussion

Guest:
Cornelia Douna / Clarinet and Cello
Roné Verstegen / Piano
Anne Jensma / Percussion

RATING:  8 / 10

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*. Wolvespirit .*

Album: Dreamcatcher (2013)
Genre: Hard Rock (Heavy/Prog/Stoner)  /  Germany

My initial impression of Wolvespirit was that they sounded awfully similar to the Danish stoner rockers in Fuzz Manta, in the sense of the soundscape and the fact that both bands can boast female vocalists. The similarities don’t end there though, as most of Wolvespirit’s debut album “Dreamcatcher” has the same ‘rehearsal-space jamming’ atmosphere to it, as Fuzz Manta’s “Vortex Memplex”. Enough of the similarities though, as Wolvespirit have quite a few tricks up their sleeve that aren’t necessarily linked to other bands. Opening track “Blowin’ up” opens with a mellow acoustic guitar riff supporting the powerful and throaty vocals before turning into a full-blown riff-mania. This slow and steady rocker has everything I have come to expect from a stoner release, as the drums are neat and tight sounding, the low-end of the bass is tearing my speakers apart and the guitar riffing shifts from subtle to overpowering in no time. The track is greatly finished off by layering a somewhat ‘traditional’ guitar solo on top of everything, utilizing the go-to effect of guitar solos – the wah-wah pedal. Following “Blowin’ Up” is a song that I, at first, wouldn’t have figured I would get to hear on a release in this particular genre. “Holy Smoke” is an up-tempo boogie-rock track that contains all the same elements mentioned previously, plus the added sound of a really cool sounding 70’s style organ in the chorus of the song. The vocals on this track are also quite a lot better than on the remainder of the album, for unknown reasons – somehow they just seem to suit this particular track extremely well. The jam-based atmosphere of the album was somewhat intriguing at first. However, due to the sheer runtime of the 10 tracks that “Dreamcatcher” consists of, the jamming nature soon begins to feel like an unsatisfying payoff after watching a movie. – In other words, I hear tons of cool jams, nice riffs and the like in the songs but somehow I feel like many of the tracks have become excessively long for no other reason than ‘they might as well be’. The title track “Dreamcatcher” is an example of this, as it is nearly 7 minutes long whilst no real development beyond the standard verse/chorus/verse/jam/chorus etc. formula of songwriting takes place. It’s a shame really as I like most of the tracks on “Dreamcatcher”. Unfortunately though, it seems Wolvespirit have fallen into one of the pitfalls I ever so often have to address – bland repetitiveness. Nonetheless, Wolvespirit have piqued my interest and, in due time, hopefully they will settle on a songwriting formula that will match their awesome soundscape and the colossal sound of their riffing. Review by "BV" (www.rockfreaks.net).

RATING:  7 / 10

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*. Shaa Khan .*

Album:  The World Will End On Friday (1978)
Genre: Prog Rock (Symphony/Psych./Krautrock)  /  Germany

This is a mysterious, enigmatic and highly achieved progressive rock album from Germany Underground. Due to the omnipresence of a lyrical sense of the melody, we can not consider Shaa Khan as a krautrock band, nevertheless this is an efficient evocative musical adventure throw higher "cosmic" spheres. Their style is an original intrication between the musically expressive / fantaisist dreamworld of Genesis, the spacey-rockin waves of Pink Floyd and Eloy connected to explosive, furiously trippy & heavy guitar leads. With obvious influences taken from progressive rock classics, this band successed to describe their own musical world, really original and powerfuly emotional, passionate with a large range of atmospheres and moods, describing different states of human sensibility, from pain, fear and anger to love and spiritual illumination. Beyond the "kosmische" rock, this album is a top class standard of progressive rock, reaching the pinnacle of this specific musical universe. White room opens this ravishing musical trip with a cosmic- like symphony for gorgeous instrumental sections, tragical & theatrical lyrics and majestic heavy-rockin' melodies (closed to things written by the germans of Dschinn). The self title track is an other imaginative travel exploring human subconsciousness and the multi-facets of his personality thanks to a great dose of mysterious, fragile, moody, epic, atmospheric ambiences for synth / e-guitar duo and beautifully immersive lyrics. Graveyard is a subliminal evocative, tormented introspective proggy-piece that reminds me Jane or Novalis at their darkest moments. The melodies are deeply expressive, pefectly composed for intense organ chords, impressively emotional, crying vocals, heavy & floating guitar leads. Almost lost in time, this album remains an ulimate masterpiece and highly recommended for all prog-heads. 

Review by "philippe" (Prog Archives).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Vibravoid .*

Album: Delirio Dei Sensi (2013)
Genre: Psychedelic Space Rock (Neo Psych.)  /  Germany

Songs / Tracks Listing
01.Poupée de cire
02.Listen, Can't You Hear
03.Colour Your Mind
04.The Empty Sky
05.Magic Mirror
06.The Golden Escalator
07.All Stars Have Gone to Sleep
08.Optical Sounds
09.Nearby Shiras
10.La poupée qui fait non
11.Black and White (Live)

Line-up / Musicians
Christian Koch / vocals, guitar
Robert Braune / drums
M. Lammert / bass

RATING:  ???????????

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*. Blodwyn Pig .*

Album: Pigthology (2004)
Genre: Prog Rock (Blues/Jazz/Folk/Psych.)  /  UK

Blodwyn Pig the British rock band formed by Mick Abrahams (vocals, guitars, formerly of "Jethro Tull") Jack Lancaster (saxes, flutes, violin and wind controllers) Andy Pyle (bass), and Ron Berg (drums), have released an anthology featuring re-recorded and re-mastered recordings of the band's most beloved and successful songs "Dear Jill" "See My Way" "Drive Me" and previously unreleased materials. Blodwyn Pig in its first form was a legend in rock history hitting the top of the LP charts in Britain and elsewhere around the world. The members received new inspiration when Cameron Crow used the recording of "Dear Jill" in his movie "Almost Famous". The original BLODWYN PIG consisted of Mick Abrahams, vocals, guitars. Jack Lancaster, sax, flutes, violin and wind controllers. Andy Pyle, bass and Ron Berg drums and was later joined by "Jethro Tull's" Clive Bunker on drums. Many bands credit Blodwyn Pig with being a huge influence at the start of their careers. One member of Aerosmith was recently quoted in Rolling Stone as saying "there wouldn't have been an Aerosmith if there hadn't been a Blodwyn Pig" and there are many fan sites across the Internet which still attest to the band's popularity. The band played alongside Led Zeppelin, The Who, Procul Harem, BB King, Miles Davis, Janis Joplin, Pink Floyd and Joe Cocker at the Isle of Wight rock festivals, the Reading rock festival. The "Pig" completed two successful American tours playing venues like Fillmores, numerous universities and the LA Forum. Some of the recordings on BLODWYN PIG'S," PIGTHOLOGY" are from this period as well as later recorded songs from their first two albums. PIGTHOLOGY was produced, compiled and mastered by Jack Lancaster and Mick Abrahams. (www.cdbaby.com/cd/blodwynpig)

RATING:  7.75 / 10

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*. Avven .*

Album: Panta Rhei (2006)
Genre: Prog Metal (Folk Metal)  /  Slovenia

BIO: The band began its journey in 2003 and has focused on creating its own authorial music right from the start. Following some changes in number of band performers, the group now remains stable, numbering 7 members: Ierlath (bass, voice), Anam (voice, guitar, tin whistle), Joc (keyboards), Evelyn (voice), Morrigan (violin), Aillan (drums, percussions) and Galvin (guitar, voice, accordion). In February 2005 the group begins the recording in the studio. In their first album they wish to present 11 songs, tales of heroism and courage, of joy and sorrow, of question-raising contrasts... The album Panta Rhei is born to the world in september 2006. The band also participates on international music contest Newcomer 2006 in Graz (Austria) where they are really well received by the critics (6th place) and even better by the audience on final concert(4th place). Avven freely seeks its image in folk music of different cultures, thereby creating a mosaic of feelings among listeners...With its youthful friskiness it stares into the future, ever rejoycing in new discoveries... (www.myspace.com/avven)

RATING:  7 / 10

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*. Comedy Of Errors .*

Album: Comedy of Errors (1986)(Mini Album)
Genre: Prog Rock (Neo Prog)  /  UK

Songs / Tracks Listing
01.The King of Kings
02.Time There Was
03.Once in a While
04.Behold the Knight
05.Student Prince Part 1 - When Will I See You Again

Line-up / Musicians
Joe Cairney / vocals
Jim Johnston / keyboards
John MacPhee / drums
Mike Barnard / guitars
Mark Spalding / bass

RATING:  8.25 / 10

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*. Fiedel Michel .*

Album: Von Zeit zu Zeit (1978)
Genre: Prog Folk (Acoustic/Medieval Folk)  /  Germany

Songs / Tracks Listing
01.Soldatentanz
02.Bürgerlied
03.Abendlied
04.Der Schneidergesell Und Die Markgräfin
05.In Meines Vaters Garten
06.Laßt Euch Nicht Betrügen
07.Santa Cher
08.Hutmachertanz
09.Es Führt Über Den Main
10.Störtebecker Up'n Richtplatz

RATING:  7.5 / 10

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*. Reign Of The Architect .*

Album: Rise (2013)
Genre: Prog Metal (Symphonic Metal/Prog Rock)  /  Israel

Wrapped in yet another mind-blowing piece of art by the great Eliran Kantor comes a hugely satisfying, sci-fi themed prog-metal album by newcomers who call themselves Reign of the Architect. They are by no means freshmen, though, as you may have already heard of both the band's guitarist Yuval Kramer (of the Israeli metallers Amaseffer) and one of the vocalists as well as the mastermind behind the whole concept of the album Yotam Avni (Prey for Nothing), and they are joined here by such acclaimed musicians as Mike LePond (Symphony X), Joost Van Den Broek (Ayreon, Star One) and Jeff Scott Soto. Sounds pretty impressive already, doesn't it? But wait till you hear the actual music! It all starts with… "The End" - which is a misleadingly toned down introduction – but if you're looking for something that's truly wild at heart, you'll find it in track #2 called "Different Heart", the moment the rough male vocals barge in. A couple of tracks that follow it present a more restrained side of the band, with "Hymn to Loneliness" slowly building up to gain the full power within the final 2 minutes and "Such a Celebration" being a bit too grandiose and monotonous for its own good, but from track #6, "Leaking Wounds", the musicians proceed to show off their true potential and skull-crushing power. I believe, in fact, that "Leaking Wounds", with its hypnotic rhythm and all, will become a favorite of many listeners as it's definitely one of the strongest moments of the album for me personally. Not that the second part of Rise lacks damn good tracks, mind you! Consider also the atmospheric and melodic "Distant Similarities", the quiet but involving "One Single Sour Grape" or the movie soundtrack-like "I, the Architect" other worthy contenders to the title of the album's finest composition. Oh, and there's also something for the die-hard fans of Iced Earth: come the almighty chorus, "Crown of Shattered Dreams" will surely thrill them to the bone! And no, these are not the only great tracks on the album, but do you really need to read about each and every of them when you already know that the whole thing's a killer? If you enjoy unpredictable prog-metal with an interesting story behind it, go and get Rise now – I don't think you'll be ever asking for your money back. Review by "Bartek Paszylk" (www.seaoftranquility.org).

RATING:  ????????

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*. The Fine Arts Showcase .*

Album: Dolophine Smile (2009)
Genre: Soft Prog Rock (Crossover/Alternative/Pop)  /  Sweden

As if it had not been obvious since this album was in the process, its impending release was instantly one of the most anticipated events of the year over here at IAT!. Yes, our expectations were high, and based on the three prior albums by The Fine Arts Showcase (including the Rough Bunnies interpretations) -- how could they not be? Gustaf Kjellvander has, under this moniker, established himself as one of the most consistent song craftsmen around, and with this landmark album narrating the breakdown of not only his relationship but psychological state, succeeds beyond the lofty expectation and standards already in place. The narration he gives us is honest, and more importantly, so balanced and self-aware of his vices and the role his actions played in his downfall -- what he conveys on "Dolophine smile" is something few modern albums contain: compassion. Listening to this album I feel as if I am there with Gustaf and Hannah, not as a voyeur but as a ghost, that same ghost that has been haunting Gustaf. Review by "Matt Giordano" (www.itsatrap.com).

RATING:  8 / 10

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*. Everyone .* (Remaster + Bonus)

Album: Everyone (1971)(Remaster 2011 + 2 Bonus)
Genre: Prog Folk (Hard Rock/Country)  /  UK

In the early '70s, the Ampex label was marketing the work of Andy Roberts in a most confusing and somewhat misleading way. When they issued his early-'70s LP Home Grown, it actually combined tracks from two previous editions of the album with others that appeared on his second proper solo record, Nina and the Dream Tree. And although Andy Roberts With Everyone was simply credited as a self-titled LP by Everyone in his native United Kingdom, the reworked title on Ampex implied that it was a Roberts album, rather than an album by the group Everyone. Whatever the billing, Andy Roberts With Everyone really isn't an Andy Roberts solo album; it's a band endeavor by Everyone, with Roberts only writing half of the eight songs, most of the other material coming from keyboardist Bob Sargeant. It's a curiously at-odds-with-itself work, low-key easygoing early-'70s rock sharing space with a couple of Sargeant-dominated efforts that verge on bombastic boogie-prog rock. The Roberts tunes are likable in a mild way, though there's nothing nearly as good as Home Grown highlights like "Queen of the Moonlight World" and "The One-Armed Boatman and the Giant Squid." Instead, it sometimes sounds like a bridge between folk-rock and pub rock. While Sargeant does contribute a fair ballad in "Sad," his flashy prog rock keyboard workouts on "Too Much a Loser" and "This Way Up" almost suggest he's trying to push the band into some weird sub-Emerson, Lake & Palmer or Deep Purple territory. That was an approach incompatible with not just Roberts' music, but the rest of the record as a whole, sealing its status as an inconsistent, fairly unremarkable album. Review by "Richie Unterberger" (www.allmusic.com).

RATING:  7.75 / 10

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*. Half Past Four .*

Album: Good Things (2013)
Genre: Prog Rock (Crossover/Eclectic)  /  Canada

Back in 2010 I received a CD by a new Canadian band called Half Past Four to review on my website, Progshine. The album was their debut and it was called Rabbit In The Vestibule (2008). Aside from the uncommon name of the band, their music caught my attention right in the beginning. It was an open window inside a closed Prog Rock room. So much variety, so much theater inside their music. It was love at first hearing and their album didn't leave my MP3 player for a long, long time. Half Past Four is an Art Rock band in the pure sense of the word, their music combines other fields of arts such as, poetry or theatre. 5 years after the release of their debut album and after a change in their line up here they are again, with their second album, Good Things (2013). Now the band is formed by Kyree Vibrant (vocals), Constantin Necrasov (guitars), Dmitry Lesov (bass and Chapman stick), Igor Kurtzman (keyboards) and Marcello Ciurleo (drums). Good Things (2013) was partially funded by an Indie GoGo campaign which the band did back in September 2011 and which raised over $2.200. Not the total they needed to fully cover their expenses of the recordings, but still a remarkable amount of money as for a new and fairly unknown band. This shows how powerful the band can be in the next years, they're building a strong fan base. Like with their first album I've also received a promo copy of the new album, but this time 1 month before the official release and I could say one thing right after the first chords, the band stays on the good side of music. Everything they had learned in Rabbit In The Vestibule (2008) they applied very skillfully in Good Things (2013). The absolutely great vocals of Kyree Vibrant still there, stealing the show in many occasions and better than before, tracks like 'Landmines' proves that. We have guitars lines that are dense like in the opening track 'It Strikes You' or 'All Day And All Night'. And it's clear that Igor Kurtzman's keyboards this time are more present and very well into place like in 'Rise' (that also rock the place out with a Rock n' Roll feeling). New drummer Marcello Ciurleo added a new dimension to the band and this time the basses are a little more 'into the face'. Both Dmitry Lesov's playing and the low tones in general. That was the one thing I didn't like on the first album, too much high frequencies, this time they're right on spot! 'Spin The Girl' is one of the most interesting tracks. Full of theatrical moments, great guitars and weird time signatures and vocals. The band has everything! Cabaret feeling on 'Fate', Space Rock in 'I Am Lion', humor in 'Wolf' and the weird tempo closing track, and personal favorite, 'The Earth' (Kyree strikes again here). Like I said they have everything. Half Past Four is a real proof that Progressive Rock still can have high quality and not just regurgitate old clichés. With high doses of good imagination and humor, excellent musicianship, great songs and a brilliant vocalist Half Past Four will get there, trust me! Review by "ProgShine" (Prog Archives).

RATING:  ?????????

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*. Sun Domingo .*

Album: The World's Alive (2008)
Genre: Prog Rock (Crossover/Alternative)  /  USA

About a year ago, my husband surprised me with tickets to see Edwin McCain. Sun Domingo was one of the bands opening for him that night, and we were blown away by their sound and the incredible amount of talent this band has. Since that night, we've attended every show they've played nearby and purchased all their albums. They are listed as post-progressive music, but as far as I'm concerned that's like saying Elvis was simply rockabilly. Their songs are filled with beautiful harmonies and catchy lyrics. During the shows, they go so far as to swap out instruments with each other; at one point, all three of them were jamming on the drums. Review by "C. Byrd" (www.amazon.com).

RATING:  7.25 / 10

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*. Wastefall .*

Album: Meridiem (2013)(Ep 5 Track's)
Genre: Progressive Metal  /  Greece

This time around we get an EP from this veteran Greek Progressive metal group. The musicianship is very good, particularly the piano/keyboards. The music is primarily heavy progressive with varying amounts of more melodic prog added. Heavy prog metal is my least favorite so I never jumped for joy while listening to the album, but I found the entire EP very listenable. On the other hand, I am not enamored with the lead singer's overly emotional singing style. As an example, sometimes he sounds weepy like he wants to cry and at other times he adds a bit of a core vibe to perhaps show some anger. Whatever singing style he uses just is not my favorite. Nevertheless, a very listenable and well done bit of progressive metal out of Greece. Review by "Butterflyman" (Rate Your Music).

RATING:  7.5 / 10

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*. Difícil Equilibrio .*

Album: La Perdua (2013)
Genre: Prog Rock (Symphonic Prog)  /  Spain

DIFICIL EQUILIBRIO is an excellent trio (Guitar, bass and drums-percussions) from Spain that plays a powerful instrumental Progressive rock influenced by KING CRIMSON, VAN DER GRAAF GENERATOR, Peter HAMMILL and even MAGMA. About seven years after its last studio rendition, DIFICIL EQUILIBRIO comes back with "La Perdua" in a revamped formula. This 2013 offering sees the drummer Luis RODRIGUEZ as the sole survivor, now helped by guitar player Joan SANTANACH and drummer-singer Ismael PALACIOS. This didn't affect the music though, apart from the arrival of the lyrics. The album ends up with three bonus-tracks, including an interesting "mediterranean" rendition of the famous "Twenty-First Century Schizoid Man" by KING CRIMSON. Don't dare to miss that band ! (www.musearecords.com)

Songs / Tracks Listing
01.Intro
02.Promesa de Futuro
03.Fuegos en el Sol
04.Entre Nosotros
05.Mi Alma Tu Ambiciуn
06.Reacciуn en Cadena
07.Palabras Prohibidas
08.La Perdua Part I
09.La Perdua Part II
10.First Steps
11.Heatwave
12.Liturgia Pagana
13.Diu La Gent... - Rumors
14.21st Century Schizoid Man

RATING:  ??????????

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*. Zlye Kukly (Злые Куклы) .*

Album: Late September (Поздний Сентябрь) (2000)
Genre: Prog Folk (Acoustic/Neofolk/Gothic)  /  Russia

Songs / Tracks Listing
01.Izvne (Извне)
02.Late September (Поздний сентябрь)
03.Star Trek (Звездный путь)
04.Sarcophagus (Саркофаг)
05.Nine lives (Девять жизней)
06.Akhenaten (including "The Reason") (Эхнатон)
07.Legend (Легенда)
08.King (Король)
09.Call (Зов)
10.Strawberry Sound (Земляничный звук)

Line-up / Musicians
Fred Adra / vocals, guitar, bass, keyboards
Henry Wriggled / vocal, drums
Edward Katz / vocals, keyboards

RATING:  7.75 / 10

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*. Peak .* (Request)

Album: Ebondàzzar (1980)
Genre: Prog Rock (Electronic/Ambient)  /  Australia

Ebondàzzar is a reasonably rare album from Australian duo Peak - Robert Reekes-Parsons and Paul Fisher - with able assistance on drums by John Haffert. It is a purely instrumental affair with vocals limited to vocoder output, effects and grunting. Ebondàzzar has been issued twice on vinyl. The original Australian release was in 1980 on Cement Records, followed by a re-issue in 1983 by Innovative Communications from Germany. Despite two different releases the work appears to be relatively unknown. Ebondàzzar has nine tracks with the longest, "Along For The Ride" clocking in at a little over the nine minute mark. Having said that, all the tracks from side one segue seamlessly making a suite of sorts with a running time of 23:02, though each track is quite different and there is no real hint of a concept. (All tracks on side two are clearly segregated.) Not a masterpiece by any means, Ebondàzzar is an album of varied soundscapes, journeying mostly into the territories of electronica, space rock and possibly Krautrock. At one point there is a step towards synthesized heavy prog as "The Hunt" goes into full flight in its last half. And to cap things off there is even a hint of blues rock with the final track, "Agent's Lunch". With the variation presented on Ebondàzzar it is a difficult album to pigeonhole. Highlights are: the hypnotic "Along For The Ride" opening with nice guitar and synthesiser interplay that moves into a Kraftwerk-style of electronica; "Encounter" with guitar synth pyrotechnics conjuring visions of King Crimson, before turning a corner into the symphonic realm; "Nightmist" with vocoder voices and its soaring sequencer melody so readily reminiscent of Tangerine Dream; and the dreamlike "Ocean Of Dreams" that opens with the peal of tubular bells before the synthesisers takeover, and then with the synths being overlaid with military-style snare drumming and tubular bells for much of the journey. I like this album, but have a bias towards works from Australia. That said, I don't believe fans of electronic music or space rock wherever they be from would be disappointed if they were to stumble upon Ebondàzzar in their travels. Review by "Vibrationbaby" (Prog Archives).

RATING:  7.75 / 10

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*. Kadavar .*

Album: Abra Kadavar (2013)
Genre: Stoner Rock (Psychedelic Rock)  /  Germany

The world’s leading scientists recently declared in unison: time travel can no longer be considered fiction but reality! Neither did their certainty originate from hypothetical thought experiments, nor from years of testing in isolated laboratories. It was the record of a rock trio from Berlin, Germany, that had dropped into the professors’ laps out of the blue and led them to proclaim joyfully: “Warm, intense, authentic – doubtlessly a gift from bygone times!” It was already with 2012’s eponymous debut album that KADAVAR casted a spell on all fans of solid riff-driven yet doom-like 70’s hard rock à la BLACK SABBATH or PENTAGRAM. Marrying this with the spacy psychedelic approach of early HAWKWIND and mixing in a distinct own touch while preserving their icon’s warm vintage charm can doubtlessly be considered the trio’s key to success – astoundingly high vinyl sales and support shows for bands such as SLEEP, SAINT VITUS, PENTAGRAM and ELECTRIC WIZARD as well as stunning festival gigs at “Stoned From The Underground”, “Yellowstock” and “Fusion Festival”, among others, underline KADAVAR’s status as one of the scene’s most exciting acts. Carrying the experiences of dozens of played live shows as a source of inspiration inside them, KADAVAR entered the timeless space of their studio end of last year to procure supplies for their ever growing fan base that was starving for more – in the form of their second full-length album and debut on Nuclear Blast. “After last year’s final show had been played in mid-December, we started writing new songs”, drummer and studio owner Tiger recalls. “We’ve already had a couple of finished tracks in May 2012, but those were eventually released on a split-LP with AQUA NEBULA OSCILLATOR in November 2012, which is why we started at square one again. As we knew that there was no procrastination and no going back for us, we sat down for two weeks straight to finish composing with total commitment. We’re perfectly happy with the outcome – I’d even say that “Abra Kadavar” comprises the best compositions we’ve created to date. The songs are more diversified, the ideas feel more spontaneous. Moreover, we’ve tried to capture much more of our live energy, which is why we’ve recorded almost everything all together in one room, with the amps turned up to the max – solely the vocals and a handful of guitar solos were added afterwards.” There’s time until April 12, 2013 to grow a full beard, resole your platform shoes and iron your bell-bottoms. From then on, KADAVAR invite us to escape the 21st century’s soulless musical mishmash once again by entering the realms of “Abra Kadavar“ – down-to-earth handmade classic rock from a time when music still used to be true art! Review by "Jakob Kranz" (www.nuclearblast.de).

RATING:  ???????????

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*. The Dear Hunter .*

Album: The Migrations Annex (2013)(Ep)
Genre: Prog Rock (Crossover/Alternative)  /  USA

Songs / Tracks Listing
01.Dig Your Own Grave
02.Middle Ground
03.Like Crazy
04.Old Demons
05.Owls
06.The Love

RATING:  7.75 / 10

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*. Raimundo Rodulfo .*

Album: Open Mind (2013)
Genre: Prog Rock (Folk/Symphonic Prog)  /  Venezuela

Songs / Tracks Listing
Section A:
01.Open Mind
02.Never Say Goodbye
03.Bring the Rain
04.White Rose
05.A House in your Heart
06.Time to Go
Section B:
07.Sweet Like an Angel
08.At the Corner of Your Life
09.Autumn Time
10.No Remorse
11.Words of Wisdom
12.Always our Fault / Coda

Line-up / Musicians
Raimundo Rodulfo / vocals, guitars, bass, mandolin, keyboards, percussion
With:
Gerardo Ubieda / drums
Pablo Gil / saxophones (alto and tenor)
Mariana Carreras / acoustic and electric violins
Elis Regina Ramos / cello
Ismael Vergara / clarinet, flute
Channing Dodson / Uilleann bagpipes

RATING:  8 / 10

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*. The Crystal Caravan .*

Album: With Them You Walk Alone (2013)
Genre: Hard Rock (Psych./Prog Rock)  /  Sweden

In the spring of 2013 The Crystal Caravan are planning their third release, With Them You Walk Alone. Right from day one, the band decides to, for the first time, just do it all themselves. With a certain amount of hybris given the band's guitarist and founders, Björn Lohmander and Stefan Bränberg, the responsibility as a sound engineers, producers and the mixing of the album. The level of ambition is higher than ever and the time to finalize the album is set by a good margin. Unlike the jammed and live recorded predecessor, Against the Rising Tide, the idea is to take the arrangements to a new level. During the work of With Them You Walk Alone, the band has gone from being a seven-piece band into a six-piece with a more distinct and a more guitar-based sound. A greater emphasis has also been placed on the work of mixing and soundscapes created by analog synthesizers, tape echoes and Leslie cabinets. To go the whole hog and do not repeat themselves have been symptomatic of how With Them You Walk Alone has been developed. And even if they decide to do it all yourself, they cannot help, in the true spirit of Umeå, to take the help of the amazing Lina Högstrom (Skator). Highly recommended for friends of URIAH HEEP, STEPPENWOLF, JEFFERSON AIRPLANE, but also acts like TSOOL and THE DOORS. (www.recordheaven.net.)

RATING:  7.75 / 10

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*. Karnataka .*

Album: New Light: Live In Concert (2012)(2Cd's)
Genre: Prog Rock (Crossover/Symphonic/Folk)  /  UK

Bought this at the end of my first Karnataka concert, after only hearing 'Gathering Light'. This is agood representation of pretty much what they reproduced for me on stage. Hayley Griffiths is an interesting vocalist - she is still to find her feet, in my opinion, on the louder, rockier passages, and has a knack on 2 or 3 songs on this recording of singing a bit behind the musical phrasing compared to the album versions by her predicessors. However, on the quieter sections, especially the songs closer to being ballads, she excels. For instance, I think her version of 'Heaven can wait' is superior to the album version by quite some way. I also like the fact Hayley is careful not to claim credit for previous material that she's had no part in, by saying "This is a song from the band's latest album" etc. This album drops one star for the annoying opening section of recorderded intro, which goes on a tad too long before the band take to the stage for real - I'm sure this is fine on the DVD, when there are images to look at, but niggles when you have only the audio to concentrate on. It's a great cross-section of the band's material and different enough, because of line-up changes, to not feel you are buying just a live version of the studio material. Recommended. 
Review by "S. Bateman" (www.amazon.co.uk).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Janus .*

Album: Under The Shadow Of The Moon (2013)
Genre: Prog Rock (Crossover/Symphonic/Eclectic)  /  Germany

Janus' music oftentimes has been pre-occupied with dark ruminations featuring audacious fusions and musical combinations rarely heard by popular audiences ever since it's not-so-humble beginnings in 1971. Latin plainsong and primordial aboriginal rhythms bolted together with wailing Gibsons, ballads with sweet, soft female voicings, hard rock as well as the utterly absurd are among the idiosyncracies that have characterized this brainchild that has never seen any boundaries. This latest Janus creature, "Under The Shadow Of The Moon ", has it's origins back in the early seventies when prog ruled the minds of FM radio waves. When bands would write unmitigated miniature free-form symphonies based on one cerebral idea in unorthodox jazz time signatures spewing out barrages of mind-numbing philisophical lyrical elucidations much to the delight of audiences who wanted to think while putting themselves at the mercy of unimmaginative critics. And, to make it worse: Cultivation of learned musical faculty and versatility. God forbid ." Under the Shadow Of The Moon " manages to commit just about all those artistic crimes associated with this classic era of progressive rock whithin it's 21 minute running time and what is so interesting about this modern throwback to that ghastly era is that it doesn't sound anything like the modern bands who are adopting and embracing early progrock paradigms. Rather than a relic that was miraculously unearthed in a record company vault and remastered ( think "Mahavishnu Orchestra The Lost Trident Sessions" ) it is more like a lost Mozart concerto that has never been played. Difference here is that the piece was actually composed and rehearsed back in 1973 but never made it onto the record cutting press for some dubious reasons ( think sex, drugs & rock 'n' roll ). Janus mastermind and perpetual architect Colin Orr toyed around with resurrecting Janus as a progrock endeavour back in the late '80s but quickly abandoned it realizing how dated and burnt out progrock musical methodology sounded. Alas, it had run it's course. One track, "How Many Times", is nonetheless re-worked here that dates from those experiments. It has an AOR sound to it with a cool guitar lick towards the end that seems to be sadly wasted ( sorry to say this ). The Janus entity then went on to record 7 albums in various guises and now over 40 years after it's genesis the title epic '' Under The Shadow Of The Moon " creeps from the womb of time Unable to escape until.... It was retrieved from Orr's memory by unknown forces. " Under The Shadow Of The Moon " turns out in 2013 to be dark & "Cimmerian", embodying all kinds of 70s progrock hallmarks. Although it is presented as a suite, Orr chooses not to name the individual sections as if to leave it up to the listener.. A neo-psychedelic passage forms the main theme but develops into a sureal maelstrom of dreamy Floydian orchestral sections with nylon string guitars, spectral female vocals and nonsensical carnival-like interludes that are reflective of the underlying theme of the protaganist being on the verge of psychosis. Maybe the inclusion of transmissions of Neil Armstrong to mission control stepping out into the unknown a represent some sort of consolation or at least a resolution to all the madness that occurs during this eccentric piece of music one does not know. I got a weird feeling after being confronted by the work after first listen and said to myself, "what the freak was that?" Certainly a great track to listen to blasting on the headphones staring at Edvard Munch's " The Scream ". At First, I wondered why the shorter, more recently composed tracks were positioned after the first tripped out extended conflagration. They all follow mournful themes that continue to use "darkness" as a unifying metaphorical device. Dark Dark is sort of an addendum to the main piece. It has a sepulchral ambience achieved by reversed reverberation combined with a spooky bluesy hollow body guitar outro. One of the most beautiful rock ballads I've heard comes in the form of the painful mostly acoustic lament " Maybe I Was The Fool " with lush female counter harmonies and string arrangements. Actually it's something that could have been penned by Fish ( the ex-Marrilion Fish ) and reminds me a bit of " Kaliegh ". Two other tracks, the off kilter '' I'm Not Made of Plastic " and " Promised Land " are more representative of Janus' ecclectisisms of the 90s, the latter being a metallisque, angry freakout against government greed again using some cool studio effects and showcasing Orr's electric guitar. By far the heaviest excursion on the album. Saving America is a short forlorn unanswered "cri de coeur" unanswered prayer accompanied by piano and voice that addresses the plight of the United States and its role in this crazy spiral-bound planet It is followed by an upbeat bluesy ballad called " Feeling ", the happiest expression that will be experienced here. "If I'd Listened", a re-worked ballad that had appeared on the 1991 Janus album " Journey " concludes the work which in a sense could even be considered a concept album of sorts. Even though this is Janus at +40 ( and counting ) the music still sounds remarkably fresh and youthful. Colin Orr, along with his technical studio prowess and multi-instrumental skills ( he plays most instruments and did all the production ) with help from his talented daughters and session man Dean Houston on sax and others, seems more like a stoned hippie / madman stuck in a 70s time-warp than a 21st century Derbyshire sheep farmer. Colin Orr has created something unique here that is not unlike waking the dead. So, is this the Janus album that never was from 1973? Well, yes and no. Best summation would be : Contemporary progrock with enough nuances, anachronisms and adventurous excitement of the prodigious early seventies to annoy any frustrated Rolling Stone columnist. Review by "Vibrationbaby" (Prog Archives).

RATING:  ??????????????

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*. Fiedel Michel .*

Album: Kennst Du das Land... (1981)
Genre: Prog Folk (Acoustic/Medieval Folk)  /  Germany

Songs / Tracks Listing
01.Kennst Du das Land, wo die Kanonen Blühn ?
02.Kleines Rondo
03.Der Winter ist vergangen
04.Friedlicher Mittag
05.In Senden ist der Löwe los
06.Raumschot
07.Ich bin ein freier Mann
08.Trilobit
09.Mein Michel
10.Meridian

RATING:  7.75 / 10

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*. Blaak Heat Shujaa .*

Album: The Edge of an Era (2013)
Genre: Psychedelic Rock (Stoner Rock)  /  France

I had the great honour of reviewing Blaak Heat Shujaa's stunning EP, The Storm Generation, recently and now their new full-length, The Edge Of An Era, has been assigned to me. Could I be more stoked? Hmmm only if the mighty Philip Lynott returned from rock'n'roll heaven! As with The Storm Generation Blaak Heat Shujaa hired Scott Reeder to supervise the making of The Edge Of An Era which again took place at his desert ranch studio. And it's the perfect and logical continuation of their EP. There's perhaps even more Middle Eastern influences mixed with surf-rock than before although trippiness and psychedelic jamming is their main focus. Thomas Bellier - vocals, guitars - still resembles Snake of Voivod, however he is starting to really come into his own which also allows Blaak Heat Shujaa to morph even more into their own identity. A trippier and more spaced out intro than I have ever heard before ignites The Edge Of An Era where the band's collaborator, gonzo poet Ron Whitehead goes on a rampage with Closing Time, Last Exit. This swiftly leads into The Obscurantist Fiend(The Beast Pt.1) a 10 minute head trip indeed. Amster and Morel-Vulliez keeps a hypnotic groove going throughout the entire track while Bellier takes us to the Middle East with his magic carpet-ride guitar. I get visions of the band playing amidst the smoky haze of a Turkish hookah bar. This is further enhanced as the song morphs into Shadows(The Beast Pt.2). Here the band slow things down a tad but opens the psychedelic faucet fully showering me in full-on trippiness. Antoine's bass-line is extremely hypnotic allowing Thomas free reign on his six-stringer...and together the trio floors me, time and time again. Apart from being such talented and inspiring musicians, the way they conjure awesome imagery with their music allowing me the freedom to take off wherever I want to is fantastic. And with each listen to The Edge Of An Era the destination changes. Not only this but the band's free-flowing and open-spirited nature of their songs has a great calming and soothing effect on me if I'm frustrated. And it gets me going if I want to rock out. Excellent! If you are willing to dive head-first into uncharted territory Blaak Heat Shujaa is the perfect guide and The Edge Of An Era is the best travel companion you could ask for. Prepare yourself to be immersed in super psychedelic desert rock drenched in Middle Eastern sounds, surf rock and spaghetti westerns. Let their sounds absorb you and fly away! I already have and in the process I found a great band who are bound for greatness....oh did I mentioned that Mario Lalli appears on here? No well I did now....and get a copy of The Edge Of An Era while you're at it! Review by "Håkan Nyman" (http://thesludgelord.blogspot.com).

RATING:  7.75 / 10

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