*. Nebelung .*

Album: Mistelteinn (2005)(Mini Album)
Single: Reigen (2006)(2 Track's)
Genre: Dark Folk (Acoustic/Contemporary/Neofolk)  /  Germany

This alpine gem of a mini-album from Nebelung though a new addition to Eis & Licht label is a debut mature and gifted that belies their lack of disco-graphical history. Mistelteinn’s viridescent digipak nurtures forested apport within and without in a limited edition of 600 copies with booklet. Natural sounds for a natural world, the sawing breath of cello draws life into wood and string, geometry and its harmony, inflecting profound reflection, the music of Nebelung immediately strikes the listener in luscious tones that capture the very vibrations of the air as it is compressed by the medley of instrumentation. Crystallised acoustic guitar pluck despondent arpeggio within fallow glen where flute educe forgotten folk arrangements and weeping cello and mourning vocals throat figurative loam for the fluorescent ornamentation. The duo of Stefan Otto and Thomas List perform an unsoiled traditional album of well-crafted folk compositions that would find good company beside Forseti, Darkwood, and the acoustic side of Ulver. Clocking in at just less than thirty minutes for six tracks, Nebelung show a promising potential despite its Germanic neofolk similarities. Review by "NYR" (www.auralpressure.com).

RATING:  7 / 10

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*. Knight Area .*

Album: Between Two Steps (2013)(EP)
Genre: Prog Rock (Crossover/Neo Prog)  /  Holland

Songs / Tracks Listing
01. Bubble (Radio Edit)
02. Forever Now (New Recording)
03. This Day (Radio Edit)
04. Dreamweaver (New Recording)
05. Xerenity (Instrumental Bonus Track)

Line-up / Musicians
Mark Smit / Vocals
Gerben Klazinga / Keyboards
Pieter van Hoorn / Drums
Mark Bogert / Guitars
Peter Vink / Bass

RATING:  8 / 10

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*. Steve Hackett .*

Album: Genesis Revisited: Live at Hammersmith (2013)(3Cd's)
Genre: Prog Rock (Symphonic Prog)  /  UK

Review DVD: It is difficult to resist hearing a band that plays a tribute to one of your favorite bands, like Genesis, especially when it's their best music in the 70's. We have here only songs of the period were Hackett was in the band, including the beautiful 'Shadow of the Hierophant', who was co-written with Mike Rutherford during the rehearsal of the Foxtrott sessions. Hackett was accompanied by some guests musicians a part from his band. Nad Sylvan sings the majority of the songs, some maybe will be disturb by his mannerism, trying to match Gabriel's voice, but Hackett wanted someone flamboyant, he surely got it. But we can make this criticism to all the singers involved because you can't replace Peter Gabriel voice. The interpretation of the songs is faithful to the originals, with some revisited and corrected solos, but also with the addition of the saxophone of Rob Townsend, when we can hear him clearly. One thing disturbed me during this concert; the drum sound of Gary O'Toole. The drums were sounding too heavy and noisy, a bit like the guy had cheap drums. I don't know if it would have made a difference if the sound engineer had put his sound down. More impressive is Lee Pomeroy who is a left handed bassist and guitar player that plays on right handed instruments! The keyboards of Roger King recreate with fidelity the sound of those whom we have been used to hear with Tony Banks in the 70's. Steve Hackett is obviously the musician that still characterized with the more accuracy the Genesis sound, because he was in the band with some of the same instruments. The picture quality is excellent and the 5.1 surround sound is full, not only for ambiance. The visuals are impressive with a nice light show and projections on LD screens. While I had a good time listening to my favorite music of the 70's, you can't stop thinking in this kind of project at the idea that it's only a recreation of music that is owned by other artists. The project of Nick D'Virgilio with "The Lamb Lies down on Broadway" was more satisfying, because he was bringing a little bit more in the music with more new arrangements and instruments. Still, plenty of Genesis fans will want to take a look at this concert, because it's a chance to see our favorite old music with the new technology. Review by "rdtprog" (Prog Archives).

RATING:  9 / 10   **MARVELLOUS**

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*. The Morganatics .*

Album: Never Be Part of Your World (2013)
Genre: Prog Rock (Crossover/Alternative)  /  France

Songs / Tracks Listing
01. The Great Deceiver
02. Sand (As Children Say)
03. Fade Away
04. Come With Me
05. Three-Leaf Clover Girl
06. Pro-Mia
07. Little Finger Syndrome
08. Drag Me to Hell
09. Fly
10. Echoes from the Womb
11. Ready

Line-up / Musicians
Seb / Vocals, rhythm guitars
Chris / Female Vocals
Lauris / Lead & acoustic guitars
Bo / Piano & Keyboards
Niko / Drums

RATING:  ?????????????

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*. The Electric Prunes .* (Remaster 2013)

Album: Mass in F Minor (1968)(Remaster 2013)
Genre: Psychedelic Rock (Garage Rock/Pop/Eclectic)  /  USA

CD 3 - Original Album Series - Box Set 2013

Ahh, the Prunes' album that everyone loves to hate, and has pretty much sowed David Axelrod's name in the annals of infamy. But I have found that good reputations generally do their subjects a disservice by often raising expectations overly high. In this case the opposite is true - the album's poor rep has most newcomers expecting trash, and when they discover it's certainly not THAT bad, are rather delighted. This one really only suffers by comparison to it's two big brothers. Anyone expecting more of the same will be disappointed. But taking it by itself, and for what it has to offer, we find a prog influenced concept style LP, but with plenty of fuzz guitar and psychedelic period flavor. The only thing really lacking are rock lyrics, but who ever listens to them anyway. The music more than makes up for it. Grades - 1 A-, 4 B+'s, and a B, quite consistent. I could also point out that it is among the shorter rock albums out there, but it's follow-up was even worse! Also of note are reports that this album was recorded with major input from the Canadian group The Collectors. Review by "tymeshifter" (Rate Your Music).

RATING:  7.75 / 10

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*. Crowned In Earth .*

Album: A Vortex of Earthly Chimes (2012)
Genre: Hard Rock (Stoner/Psychedelic/Doom Metal)  /  UK

Crowned in Earth was briefly notable for their (well, his) succinct yet blissfully traditional "Visions of the Haunted" album a few years back. I was originally introduced to the band through the Pale Divine website, as the drummer for that band contributes his skills here. Looking at the album cover for this and then the previous album, it does a lot to provide an accurate expectation of the material. This is psychedelic rock influenced doom metal, somewhat similar to what Cathedral did on "The Guessing Game" but far, far more restrained with the 70's camp. The psychedelic influences are more akin to neo-psychedelia than any of the hand-clapping, fuzzed out bonkers pop songs you might expect. "A Vortex of Earthly Chimes" perfectly describes the warm, invigorating (and somewhat stoned) tone of this album. It is unfortunate that this album was lost in the sea of late-year releases, as it is easily one of the best doom relevant releases of 2012. If you like doom, stoner rock, or even a little psych-rock I highly recommend this one. Review by "terraasymmetry" (Rate Your Music).

RATING:  8 / 10   **GREAT**

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*. Smoke .*

Album: Smoke (2013)
Genre: Prog Rock (Psychedelic/Jazz/Heavy/Exp.)  /  Australia

Songs / Tracks Listing
01. Paradise Slums
02. Gary's Graveyard
03. Myopic
04. Highway
05. Time

Line-up / Musicians
Jimmy Kent / Guitar, Vocals
Joel Bourke / Drums
Rick Fred Rick / Guitar, Vocals
Fergus Smith / Bass

RATING:  ?????????????

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*. Boomer .*

Album: Dim Side of Mars (2002)(Reissue 2008)
Genre: Prog Rock (Crossover Prog)  /  USA

Creating an album is one thing in itself, but to write your own follow-up to Pink Floyd’s gastronomically-huge Dark Side Of The Moon? Now that’s something altogether different. Keyboardist Greg Halpern has always had what many would call an obsession with Dark Side Of The Moon album and the fact that Floyd never recorded any sort of sequel to their 1973 best-seller. Determined to write and produce a follow-up of his own, Halpern struggled to capture the essence and soul of Pink Floyd–but with no success. However, his persistence continued–and six studios, thirty-four musicians, and seven engineers later, Greg Halpern’s group Boomer finally came up with Dim Side Of Mars, a seven-track release that many in the music world is a worthy (if perhaps illegitimate) sequel to Dark Side Of The Moon. The result? Beginning with the oh-so-Floyd-sounding “Alpha State,” Dim Side Of Mars continues the cosmic journey throughout the universe of music with Rex Carroll’s strings doing an admirable job of filling in for David Gilmour and Rene LeDesma providing his best Roger Waters impersonation (it’s much better than Corey Feldman’s imitation of Waters, I’ll tell you that for certain). The album’s message is blatantly clear: humanity’s apathy towards itself–and Dim Side Of Mars’ remaining six tracks attempt to free us from our own mental prisons brought on by war, technology, and religion. At least, that’s how I interpreted the album. Overall, it’s a good listen. Originally pressed in 2002, Dim Side Of Mars was re-released in late 2008 via CD and as a download album through music websites, with several MP3s available at the album’s official website. Bottom line: it isn’t Pink Floyd, kids–more like Pink Flauxd–but Dim Side Of Mars definitely captures a great deal of the original spirit that Dark Side Of The Moon has been shining on our own crazy diamonds for 36 years now. Just think of it as a collection of B-Sides from Dark Side Of The Moon and you’ll be alright. Review by "Luigi Bastardo" (http://blogcritics.org).

RATING:  7.5 / 10

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*. L'Arpeggiata & Christina Pluhar .*

Album: Mediterraneo (2013)
Genre: Folk Music (Acoustic/Baroque/Chamber Folk/Classical)  /  Multi-National

This release by the early music group L'Arpeggiata and its leader, lutenist Christina Pluhar, seems to encompass two separate goals, only partly laid out in the handsomely illustrated booklet notes. First is an illustration of the idea that, as the notes put it, "the sea does not separate cultures, it connects them." Jordi Savall and others have released albums that cut across a wide swath of Mediterranean lands from Turkey to Spain (and around to Portugal), finding in them a traditional music that responds well to improvisatory practice, shows the continuing influence of musical practices from the Arab and Ottoman worlds, and reflects a lyric impulse and a tendency toward accompanied vocal song. Pluhar adds different singers and musicians onto her core group according to the national origin of the music, a noteworthy and innovative practice that gets the listener to hear commonalities and differences in a fresh way. The second goal is more unusual: Pluhar and company explore the common roots of these practices in Greek music, demonstrated by the persistence of the Greek language and a large repertory of orally transmitted song in southern Italy, on the Salento peninsula on the east coast of southern Italy, and also in Calabria. These songs are sung in a language called Griko, essentially an Italian dialect of Greek. This music, and even the language itself, is sufficiently obscure to attract attention to the album by themselves, and "Greco-Salentino" songs, with everything transliterated and translated in the booklet, are lovely. The album's perhaps of a bit more interest to speculative world music fans than to serious devotees of old Mediterranean song: Pluhar's female vocalists don't have quite the power needed to take command of the material. But the instrumental group L'Arpeggiata is a remarkably flexible, breathing instrument, and the entire project gets major points for sheer originality. Review by "James Manheim" (www.allmusic.com).

RATING:  7.75 / 10

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*. The Electric Prunes .* (Remaster 2013)

Album: Underground (1967)(Remaster 2013)
Genre: Psychedelic Rock (Garage Rock/Pop/Eclectic)  /  USA

CD 2 - Original Album Series - Box Set 2013

The second album of The Electric Prunes is maybe their most respected work and I have to say it is quite magical totality of psychedelic rock with influences of garage rock. Their debut was even more garagey and a bit more poppy too, so I prefer this one better because they have moved towards more psychedelic atmospheres. I can't say that this album is perfect, mostly because I usually want my psychedelic rock albums with at least a couple of lengthy jams and here only one track lasts longer than 4 minutes. However, the songwriting is totally amazing and the album offers a great amount of perfect moments so naturally it deserves a high rating. So I believe that four stars describe my feelings very well. Review by "MarcFeld" (Rate Your Music).

RATING:  7.75 / 10

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*. Insider .*

Album: Jammin' For Smiling God (2000)(Ep)
Genre: Psychedelic Space Rock (Stoner/Exp./Jam)  /  Italy

Songs / Tracks Listing
01. Divine Breath (7:53)
02. Falling Down (5:33)
03. Blind And Bloody Quietness (7:30)
04. Jammin' For Smiling God (10:52)

Line-up / Musicians
Marco Ranalli / lead guitar, synthesizers
Piero Ranalli / bass
Andrea Sestri "Sigly" / vocals
Stefano Di Rito / drums

RATING:  7.5 / 10

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*. YES .* (SACD Remaster 2013)

Album: Tales From Topographic Oceans (1973)(SACD Remaster 2013)
Genre: Prog Rock (Symphonic Prog)  /  UK

CD 6 & 7 - High Vibration: SACD Box (Japanese Box Set 2013)

I've had a copy of Tales from Topographic Oceans essentially since I began listening to progressive rock about eight or so years ago. It was only recently however that I've finally been able to nail down my opinion of this album. It is one that I enjoy greatly and listen to on a fairly regular basis. I've always felt though, that it is in some way imperfect and have always vacillated in the face of giving it a five. It was only in contemplating why I only gave the album I listen to the most (Cerulean Blue by Rain, odd choice I know) a four out of five that I came to the proper conclusion. Both albums are beautiful, soulful and incredibly well imagined, but both are so rich that they are diminished by their respective creators' largess. At times, when the mood is right, this album is certainly a five. From outside the distorting influence of audiophilic euphoria however, I believe a four is ultimately more appropriate. On that note, I'll leave you with a far more eloquent expression on additive subtraction. "Perfection is achieved, not when there is nothing more to add, but when there is nothing left to take away." Review by "R-A-N-M-A" (Prog Archives).

RATING:  8.75 / 10

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*. Color .* (Reissue+Bonus)

Album: Új színek (1982)(Reissue 1999 + 8 Bonus)
Genre: Prog Rock (Crossover/AOR/Pop)  /  Hungary

Új szinek (New colours) it's not progressive rock. The times changed, the band felt it, they turned on their own decision. Mellotron and cello gone, ugly 80's synth came. This is Aor music in vein of Styx or Saga. The music is good his own right, for example Féltelek a beautiful love song. Arról jöttem én and Meséltél have good guitar playing from Miklós Felkai. Ugy kell begins with use of the two-handed tapping technique, it's very promising, but the song is average aor. Best track is the Nyár (Summer) with optimistic lyrics, which a littleYes-ish. This record has big succes in Hungary, it sold more than 100000 copy. The bonus songs, on the cd issue are the third album, which made in 1984, but it didn't released at the time. The three Bokor brothers immigrated in the Usa and this record was forbidden by Hungaroton. Review by "fluiddruid" (Prog Archives).

RATING:  7.75 / 10

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*. Big Big Train .*

Album: The Infant Hercules (1992)(Demo Reissue 1993)
Genre: Prog Rock (Crossover/AOR)  /  UK

Good effort, although just a demo tape recorded with limited funds (so i'm told) this little gem marks a turning point in BBT's sound -they've lost that awfull drum machine and accuired the drum skills of STEVE HUGHES. We start with pomp rock no. dismounting tigers with its complex guitar intro, leads us into an almost poppy IT BITES tune! I wasn't so sure about MARTIN READ'S voice on their first c.d FROM THE RIVER... But improvements have definitley occured here all-round my favourite track has got to be the instrumental RED FIVE with its obvious IQ influence, its very strong. All in all this is just a tape but a good archive of some of BBT's earlier tender works and should be appreciated for what it is. Review by "dopey" (Prog Archives).

RATING:  6.75 / 10

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*. Three Monks .*

Album: The Legend Of The Holy Circle (2013)
Genre: Prog Rock (Classical Music/Symphonic)  /  Italy

Songs / Tracks Listing
01. The Holy Circle
02. Int Mystery
03. The Battle of Marduk
04. The Rest of the Sacred Swarm
05. Rieger
06. The Strife of Souls
07. Toccata Neogotica #5 (Epilogue)

Line-up / Musicians
Paolo "Julius" Lazzeri / neogothic organ & synthetizers
Maurizio "Bozorius" Bozzi / electric bass & sound engineering
Claudio "Ursinius" Cuseri / drums on tracks 1-2-5
Roberto "Placidus" Bichi / drums & orchestral persussions on tracks 3-6-7

RATING:  ???????????????

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*. Be Bop Deluxe .* (Boxset 2013)

Album: At The BBC 1974-1978 (2013)(Boxset 3Cd's)
Genre: Prog Rock (Art Rock/Glam/Crossover/Blues/Pop)  /  UK

Songs / Tracks Listing:

CD 1
01. Third Floor Heaven (John Peel Session 9th May 1974)
02. Adventures in a Yorkshire Landscape (John Peel Session 9th May 1974)
03. Mill Street Junction (John Peel Session 9th May 1974)
04. 15th of July (John Peel Session 9th May 1974)
05. Maid in Heaven (John Peel Session 11th March 1975)
06. Stage Whispers (John Peel Session 11th March 1975)
07. Sister Seagull (John Peel Session 11th March 1975)
08. Lights (John Peel Session 11th March 1975)
09. Life in the Air-Age (BBC in Concert 1976)
10. Sister Seagull (BBC in Concert 1976)
11. Ships in the Night (BBC in Concert 1976)
12. Maid in Heaven (BBC in Concert 1976)
13. Third Floor Heaven (BBC in Concert 1976)
14. Blazing Apostles (BBC in Concert 1976)

CD 2 - In Concert - Hammersmith - London 1976
01. Maid in Heaven
02. Bring Back the Spark
03. Kiss of Light
04. Adventures in a Yorkshire Landscape
05. Fair Exchange
06. Ships in the Night
07. Twighlight Capers
08. Modern Music (Medley)
09. Blazing Apostles

CD 3
01. Mill Street Junction (John Peel Session 17th January 1977)
02. Adventures in a Yorkshire Landscape (John Peel Session 17th January 1977)
03. Still Shining (John Peel Session 17th January 1977)
04. New Precision (In Concert 19th January 1978 London)
05. Superenigmatix (In Concert 19th January 1978 London)
06. Possession (In Concert 19th January 1978 London)
07. Dangerous Stranger (In Concert 19th January 1978 London)
08. Islands of the Dead (In Concert 19th January 1978 London)
09. Panic in the World (In Concert 19th January 1978 London)
10. Lovers Are Mortal (In Concert 19th January 1978 London)
11. Love in Flames (In Concert 19th January 1978 London)
12. Blazing Apostles (In Concert 19th January 1978 London)
13. Superenigmatix (John Peel Session 30th January 1978)
14. Panic in the World (John Peel Session 30th January 1978)
15. Possession (John Peel Session 30th January 1978)
16. Love in Flames (John Peel Session 30th January 1978)

RATING:  8 / 10

.     .     .

*. The Natural Mystic .*

Album: Mother Nature, the Trees and the Magic of Seasons (2007)
Genre: Prog Rock (Eclectic/Crossover/Folk)  /  Italy

The Natural Mystic are a band from Milan who bring you a crisp, dynamic blend of old school influences and modern sensibility. Eclectic as hell and brimming with their own personality, they are certainly not typical RPI nor typical anything else. The Mystic sport a very punchy sound, forceful and exhilarating, whether they are doing something mellow or rocking. And they do both. The songs vary in style and they are broken up into four suites, one for each season of the year. Short occasional interludes break up the longer pieces giving the album some epic flow. A love of folk music comes through in songs like "No More War" and "Pilgrim in the Sun." Longer instrumental sections are explored and occasionally some heavier prog is felt, as well as clear nods to psychedelia. "Flute Odissey" is an example, quite beautiful but very sparse and spacey. One of the comments from our team's evaluation of the band might give you some insight into what a ride this band is: "Heavy-symph turning psych turning into American rock turning into folk turning into pseudo-metal turning into...Eclectic". The band sports superb musicianship and adventurous songwriting in their attributes, finding a sound that is muscular without being distorted, aggressive and yet agile. The vocals sound a bit like Demetrio Stratos but without the maniacal delivery, and the vocals are in English which might appeal to those put off by Italian. There's lots of flute and acoustic guitars, but also a big bass/drum sound and wailing electric leads. There are faces to the music which should appeal to fans of Jethro Tull, King Crimson, Gourishankar, and Lazuli. This is a band with much potential and I've heard a track from a future album which sounds very cool. The video for "El Pecador" can be viewed on their website and it is bloody outrageous stuff! I think fans of Eclectic prog would find The Natural Mystic well worth checking out. 
Review by "Finnforest" (Prog Archives).

RATING:  7.5 / 10

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*. Rock-H (Рокаш) .*

Album: In Vinko Veritas (2012)
Genre: Soft Prog Rock (Crossover/Folk/Pop)  /  Ukraine

Songs / Tracks Listing
01. Палиночка Біла Біла (3:01)
02. Постели Ми Постілоньку (3:01)
03. Вінко (2:24)
04. Карта (4:12)
05. Дай Ми Мила (3:16)
06. Вівці (2:43)
07. Щедрик (2:52)
08. Америцький Край (2:56)
09. L'amour (3:22)

Line-up / Musicians
Віктор Янцо / keyboards, composer, back vocal
Іштван Халус / vocal
Мар'ян Криськув / guitar
Родіон Sun Lion / bass
Володимир Ульянов / drums

RATING:  6.5 / 10

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*. Monkey3 .*

Album: The 5th Sun (2013)
Genre: Psychedelic Space Rock (Stoner/Exp./Post Rock)  /  Switzerland

These silent Swiss rockers have become a psychedelic stoner staple on the European scene in less than a decade by releasing a string of lovely crafted records and touring with the best acts in the genre. Sharing a similar vision to fellow labelmates, My Sleeping Karma and rising as fast as them, Monkey3 have found a perfect balance between the heavy, guitar-centered sound and moody, ambient soundscapes. This way, it all comes down to dynamics and nuances that constantly warp the main ideas. Moreover, keeping things as simple and direct as possible most of the times, means there's little overcrowding, therefore, the music is easy to digest. The 5th Sun follows the footsteps of its predecessor, Beyond The Black Sky, but with an upgrade in delivery and a heavier musical shade, perfectly representing the dark undertone the title portrays. With a more progressive approach, these songs create entities of their own through the band's excellent songwriting abilities and flawless execution. The first two ones in particular, 'Icarus' and 'Suns', which make up almost half of the record's length, are essential Monkey3. Slowly taking off with an erratic soundscape, the former is everything one needs to hear from the band: staggering riffs laid over epic synthesizers that keep growing until they reach massive heights and power. Even at over 14 minutes long, 'Icarus' flows extremely well, becoming one of the most ambitious track in their catalog so far. 'Suns', on the other hand, starts as pseudo-post-rock, with melodic riffs and faint, atmospheric keyboards, before morphing into noisy, organ-led, stoner metal. As dynamic as anything put out on previous records, these two cuts beautifully showcase how much you can do with less (in this case, with clear, often basic structures). Diving further, the brooding 'Birth Of Venus' or the somber 'Pintao' offer some of the hardest hitting moments within conventional lengths. Psychotic synths constantly enrich the canvas, both featuring some leads Rammstein would be pleased of. Monkey3 can be as expansive and effective as needed whether they take 4 or 14 minutes to express their ideas. These cuts also show how versatile these guys can be while still lounging in their own comfort zone. Even if The 5th Sun is a strong release, it works best when revisited every once in a while. It's not an album to obsess over, simply because it loses its impact on the listener when put on repeat. This is not a negative aspect, it's the case of many groups in the genre (Karma To Burn, My Sleeping Karma, etc.). Definitely an amazing live act, Monkey3 are one of the fewer bands who have managed to transpose their energy and power on tape. The riffs are easy to digest for newcomers yet highly entertaining for the fans and as a result, this record might be their most accomplished material to date. 
Review by "Raul Stanciu" (www.sputnikmusic.com).

RATING:  8 / 10   **GREAT**

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*. Havnatt .*

Album: Etterlatte (2013)
Genre: Dark Folk (Acoustic/Contemporary Folk)  /  Norway

Havnatt (from doom metal ensemble Omit) builds upon their former release Havdøgn, with a new, longer interpretation of Tormod Skagestad's poems. Etterlatte (t/l: (the) abandoned) is a pleasant, acoustic guitar-driven album with soothing female vocals. This time they introduce violins, cellos and clarinets in some of their compositions. While I could criticize their musical interpretations for getting too plain during the course of the album, the music is still rich, atmospheric and technically excellent. Cecilie Langlie's vocals sent chills through me several times. Her singing, however, is also one of the two small problems that I have with the album. I keep hearing the same notes and intervals sung in every song, and her singing style does not change. At times I wish there was a male vocalist accompanying her. The second qualm I have is that while Tom Simonsen's playing is really diverse and beautiful, the complicated riffs also become a downside. This is because he rushes a bit too quickly through the chords sometimes and does not allow enough breathers. These two points do not, in my humble opinion, help to create a varied, or should I say balanced, musical experience. While that is said, one can easily notice that Havnatt have done an admirable job at keeping the compositions as varied and interesting as they could. Musical depictions of poems tend to get tedious quite readily, and they have decently avoided that pitfall. I occasionally miss the spoken word format, as the rhymes and rhythms of the poems get stretched and disproportioned in Havnatt's format. But it's nothing critical, and if I want spoken word I go listen to something else. As for the lyrics, they are sung in their original form, which is a particular Nynorsk dialect. They are about life on the Norwegian countryside, mostly containing subtle, beautiful descriptions of nature and instances. They definitely add a lot to the songs. I especially enjoyed the lyrics of the poem "Sovande Gard" (Tolkning 1 (Interpretation 1) had the superior mood IMO). The album fits perfectly for setting a relaxed and soothing mood; I know I will put it on during slow evenings when the stress of tomorrow's exigencies are about to set claws in me. Review by "Naratchi" (Rate Your Music).

RATING:  7.5 / 10

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*. Torga Ostera .*

Album: Queda Ascendente (2012)
Genre: Prog Rock (Psych./Space Rock/Symphonic Prog)  /  Portugal

Other than for the ubiquitous '10,000 Anos Depois Entre Venus E Marte' album by José Cid, I have hitherto overlooked the Portuguese music on this site. However thanks to a friendly collaborator I'm finally getting a nice education in this area of South European prog. And a good place to start the journey is with Torga Ostera's recently released debut album 'Queda Ascendente' which reveals itself as a meeting point between British Space Rock and Portuguese romanticism. The sounds of waves and foghorns that open and close the album give the impression of one piloting a course on a forgotten sea before returning to the world of real life - a voyage of discovery recalling Portugal's great nautical past. There is an immediate and unmistakable similarity to Pink Floyd with the siren call of synthesizer pulsations and ethereal-sounding slide guitar, and the music generally flows calmly like pure water although there's an earthier feel once the vocals kick in. Keyboards intermittently burst out with brief solos but their main role is to blend in, to help shape the songs. The twin guitars are the key players here - check out 'Balada Ao Ensandecer', a nighttime excursion to the dancing stars where the guitar erupts in a dramatic finale like a solar flare attack in the black night sky. Gooseflesh material! The Portuguese influence is probably strongest on the more song-oriented tracks like 'Rosa Dos Ventos' (Wind Rose), a symbol of the Age of Discoveries with its title taken from the ornate designs on early compasses. Again, this name conjures images of the deeds of famous Portuguese explorers and astronomers although it actually sounds more like a love song. Then there's the centrepiece 'Apicultor De Homens' (Beekeeper of Men) which saunters lazily along like a ride through endless Manueline arcades, the unified force of the rhythm section reshaping itself into varying patterns as it follows winding paths that lead in different directions, while the guitars erect ever-towering columns of sound. Epic stuff. But the Pink Floyd influence is what really forms the basis of the album and a review could be summed up succinctly in five short words - dark side of the moon. The seeming obsession with Pink Floyd even manifests itself in lyrics about a shining diamond. For sure, 'Queda Ascendente' borrows liberally from Pink Floyd and I'm obliged to say it's pretty much devoid of originality, although that's its only flaw and if you're into laid-back spacey prog this is a must-buy album. It's like a lost relic of the seventies and as such it's as good as it's entitled to be. Review by "seventhsojourn" (Prog Archives).

RATING:  8.25 / 10   **GREAT**

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*. Hawklords .*

Album: Dream (2013)
Genre: Prog Rock (Psychedelic/Space Rock)  /  UK

I must admit that connecting this band with Hawklords is highly dubious. It has to stand or fall on the music and not the name of the band. I wasn't particularly impressed with We Are One which sounded like going through the motions space rock. So how is this one. Well it starts of in great style with Dream a Dream. This sounds like a band really getting their thing together. This is space rock. It rocks along with some excellent spacey keyboards and Ron Tree's effective nearly spoken vocals and some nice lead guitar. DNA is a slightly thrashy punkish rocker that reminds me of a time when some of the band were in Hawkwind and is very good. Elemental Mind starts off with splendid spacey keyboards and heads off into a more restrained style with acoustic guitar and warbling keyboards. Just when you think it's going to be an instrumental there a short song followed and more keyboard warbling to finish off. So far so good. Nowhere, Everywhere is even more restrained with acoustic guitar, ringing cymbals and something cello like. I'm not sure the attempt at softer vocals really works. but it still a decent track. Then it's back to punkish trashing with I.D. Man. It sounds a throwaway track from 1977 and the weakest thing on the album. Natures Dance is a return to acoustic guitar and spacey keyboards and lead guitar. I'm not sure about the vocals again - perhaps Ron Tree doesn't really pull off soft vocals. Natures Dance Coda is rockier, short and very good and the vocals are fine again. White Rag starts with spacey and dreamy keyboards and after two minutes goes into a rather plodding space rock followed by a less plodding section with organ solo and then back to spacey keyboard and Trees effective spoken vocals and then a less plodding and rather splendid chant like finish. Overall it works out in the end. Dead Air uses a reverse effect and soft vocal through a vocoder or similar vocal effect with the organ forming the main backing. This works out better than expected. To finish there's Phychic Eyes. This starts of with lots of synth noises and Ron Trees spoken vocals as we've heard on Alien 4. Perhaps it goes on a bit. I read that it's taken from a live performance. After two minutes we're into some excellent driving space rock taken from a different live performance and Ron Tree rambles away including stuff based on some stuff I've heard somewhere before and some I haven't mingled with organ led keyboards and again it all works out fine in the end. So here is this band, whatever they wish to call themselves, finally hitting the mark. The ideas are better, the production is way better and the keyboards are better used providing a richer more rewarding musical experience. I was expecting another trip through familiar space rock territory but they have upped their game and it's a game that is well worth a listen. Review by "Mr. Graham Hawker" (www.amazon.co.uk).

RATING:  7.75 / 10

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*. Dionysos (Paul-André Thibert) .* (2 Albuns 1 CD)

Album: Dionysos and Musique De Mes Amis (1976/1978)(Reissue 2011)
Genre: Prog Rock (Hard Rock/Jazz/Blues/Psych)  /  Canada

Songs / Tracks Listing - Dionysos (1976)
01. T'attends ton train
02. Un bec, un caresse (salut le reste)
03. Pit Buick
04. Chanson sans "our"
05. Retro
06. C'est comme ça
07. Ostid' Problème
08. Yvette
09. Reveil
10. Flou pas fou

Songs / Tracks Listing - Musique de Mes Amis (1978)
11. Sors de ta Tete
12. Vancouver
13. Bouquet de Roses
14. Le Son des Neiges
15. Un Air de Fete
16. Bye Bye
17. Retour
18. L'age D'or II

RATING:  7.75 / 10

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*. Teeth Of The Sea .*

Album: Master (2013)
Genre: Post Rock (Neo Psych./Ambient/Electronic)  /  UK

I have been dying for this one to hit the site. I picked it up on Bandcamp last week and have been listening to it almost nonstop. I even made my first dabble into the world of vinyl. I liked it so much; I simply couldn't pass up the opportunity. I, probably like most people, had never heard of Teeth of the Sea. I've since checked out their back catalogue. Pretty solid and certainly more conventional psychedelic stuff and I'll be sure to give it the attention it deserves once my devotion to Master has subsided. So what is Master? Well for starters, I am not sure whether it is a concept album or not. It is largely instrumental and what vocals there are, are often distorted or highly esoteric. Not surprising given the nature of the genre. There are a few passages repeated throughout, but in large part each track is perfectly capable of standing on its own. That said however, the wall the pieces fit together as a whole suggest a much greater thematic relationship. I'd agree that it is one on that basis. Master is my first brush with seriously industrial music and I've found myself liking in considerably more that I imagined I would. The tone of the album is incredibly dark, the beats are rhythmic and mechanistic and everything is cold. What little brightness there is comes from the trumpet, but that too is distorted, tarnished and faded into the mix. The trumpet itself is actually a mainstay of the band, not a tack on. I was surprised. It seems to me a very curious fixture for an industrial album, but it works. Overall, I would compare the style of Master to that of Welcome to the Machine (my favourite track), by Pink Floyd. Save for the up tempo and adroit delivery. The menace is there though, right down to machine sounds, I'll be it with a little more horsepower. I liked this album from the heavily distorted vocal German introduction to the final fade out. Teeth of the Sea's previous work is much less electronic than Master. They managed to find an excellent heterogeneous mix here though. Along the way the band manages to cross the vast distances between death metal and club music and somehow make it feel coherent. My favourite track is the closer, Responder, which errs on the electronic side, but it is the most upbeat (relatively speaking) track and it clears the air after the weight of Master very nicely. I would be totally remiss giving this album anything less than five out of five, so I will do just that. I recommend it highly to psychedelic fans and fans of dark ambient music. Metal fans should also enjoy this, but not in the same way you would Iron Maiden. Really though, this impressively diverse and immaculately assembled album is truly essential in my mind. Highly recommend, and timely, if you are looking to go high concept this Halloween. Review by "R-A-N-M-A" (Prog Archives).

RATING:  ???????????

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*. Chango .* (Reissue)

Album: Honey Is Sweeter Than Blood (1976)(Reissue 2012)
Genre: Prog Rock (Latin Rock/Hard Rock/Soul)  /  USA

They sound like Santana many times but Tony Jasper writes in his "Hardrock and Metal Encyclopedia" the Rock tracks are excellent. I've never heard such an understatement. The song "Meeting of the Gods" is a killer in every sense. The perfect voice, the guitars scream and the singer agrees with his shrieks as he's getting murdered. The other stand-out track is "Dr. Jekyll and Mr. Hyde". The same sort, simply unbeatable. If you love old Santana with a voice you've never heard before, don't hesitate. You don't regret it. Review by "warpigcat" (Rate Your Music).

RATING:  7.75 / 10

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*. Airto Moreira .* (Reissue)

Album: Identity (1975)(Reissue 2003)
Genre: Jazz Rock Fusion (Latin Jazz/Funk/Prog)  /  Brazil

I think this is best of Airto's albums. It has an epic quality to it, and less funk (although I love funk), mostly thoughtful pieces that move through a sort of questioning texture. Identity is not hard jazz, not as frantic as say Virgin Land, but it isn't soft jazz either.  It's a journey or sorts, and that lends the entire album a unity that goes beyond rhythmic tropes characteristic of Brazil, or jazz gestures already wearing out there welcome in 1975. The brilliant Rhodes piano by Egoberto Gismonti on this album carries the songs forward although with the sometimes urgent, sometimes thoughtful percussion gymnastics characteristically of Airto's work. The mixture of heavy rock guitar with the gossamer flow of bass and voices shows how well Airto understood how to form a soundworld of wonder and taste. Of course, this, his best album, is out of print. I got a copy (as a completist, formerly considering Virgin Land his masterpiece), but when I started listening, the music transfixed me, and like albums I have loved for years, I listened to it five times in a row. This is a keeper, oh my bratvas. Review by "mburgh" (Rate Your Music).

RATING:  7.75 / 10

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*. Airbag .*

Album: The Greatest Show on Earth (2013)
Genre: Prog Rock (Crossover/Neo Prog)  /  Norway

Airbag are continuing their journey through atmospheric sounds and serious topics, creating cinematic pictures and bringing out emotions, pulling the listener into their world. ‘The Greatest Show on Earth’ is a cohesive album with strong emphasis on musical themes and arrangements. The listener is treated to a wide sonic experience, from massive walls of sound to ambient textures and soulful soundscapes. The lyrics deal with the individual and its growing feeling of alienation and distrust in society and the established authorities. At the same time, we are manipulated and kept in a comfortable state of mind, believing we’re in control of our self-centered lives. (www.airbagsound.com)

Songs / Tracks Listing
01. Surveillance (Pt.1)
02. Redemption
03. Silence Grows
04. Call Me Back
05. The Greatest Show on Earth
06. Surveillance (Pt.2-3)

Line-up / Musicians
Bjørn Riis / Guitars, Keyboards, Backing Vocals, Bass
Asle Tostrup / Vocals, Keyboards, Programming
Henrik Fossum / Drums
Jørgen Hagen / Programming, Keyboards
Anders Hovdan / Bass

RATING:  ???????????

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*. La Théorie des Cordes .*

Album: Premières Vibrations (2011)
Genre: Prog Rock (Jazz Fusion/Exp./Canterbury/Metal)  /  France

One of my favourite instrumental progressive related albums of the last few years, the debut album 'Premieres Vibrations' by French band La Theorie Des Cordes is a confident mix of snappy jazz, electric fusion with some gothic/cabaret drama and occasional harder moments, though rarely heavy enough to actually be metal. The band is impossible to pigeonhole into one genre, with most tracks diverting in different directions throughout and never ending the same way that they started. There's a real cracking energy to the performances, and although all the band members are first-rate talented musicians, there's a loose sound to their compositions that ensures the album never gets overly stuffy or lifeless. Piano player Stephanie Artaud is a revelation here, sprinkling so much of the album with endless varieties of energetic and refined jazzy playing. Guitarist Mathieu Torres plays with a fire that jumps from manic attacks to thoughtful and emotional soloing, while Tadzio Gottberg's drumming is varied and commanding. Maxime Jaslier also contributes wonderful sprightly sax and fluid bass playing that compliments the band perfectly. Opener 'Supernova' is an emotional and slowly unfolding piece full of frantic and passionate electric guitar playing, bolero-like themes and tip-toeing piano soloing with just the right balance between delicate beauty and slight unease. There's some occasional heavy grunt and brooding tension throughout but pay special attention to the dreamy and haunting outro. I cannot express how much I love the Canterbury foot-tapper 'Reves Premonitoires'! Almost seven minutes of instrumental jazzy perfection with a slight Latin influence, full of snappy percussion/drumming and plenty of Gong-like sax. Winding sneaky guitar twists through dazzling piano that moves from upbeat, cheeky playfulness and slight eeriness before a wild cascading climax. 'D'Hetre A Etre' is a dramatic slow-burner with an emotional extended electric guitar theme constantly reprised throughout, plus dark jazz piano interludes, snarling heavy distorted guitar and very impressive deep melodic bass soloing. Listen to how expertly the band contrasts the moody improvised middle section with a frantic race to the finish full of classical flourishes, wild electric soloing and crashing percussion! 'Singes' begins as a floating early 70's Pink Floyd shimmering mystery, lots of tasteful dreamy guitar and hypnotic piano, with a very reflective and thoughtful guitar theme that plays throughout the piece. Then half way though the piece kicks up a storm with uptempo piano, urgent drumming and snarling guitar before falling away into the psychedelic ambience of the beginning. 'Le Bas-Art De L'Epouvante' is another devilish and fiery bolero/Canterbury concoction with some gothic/classical drama amongst the dizzying piano storm and truly ragged dirty guitar soloing, `Berceuse Moderne' is a beautiful heartfelt piano/guitar ballad with a subtly romantic melody and just a hint of danger. 'Renaissances' is a dark and heavy spacey finale that opens with very sinister bass soloing, before jazzy drumming, swirling electronics, maddening middle-eastern themed electric guitar riffs and nightmare inducing ghostly piano finish the album in a very dramatic way that leaves you wanting ever more. All in all, a varied, original and exciting first release from a talented band that offers so much potential. Highly recommended to all lovers of instrumental progressive rock, why not give them a try if you're after an exciting and accomplished young band with real personality and technical skills? Hopefully we'll also get a live DVD or CD from the band sometime in the future, as I have a feeling these guys will be in another league altogether live! 
Review by "Aussie-Byrd-Brother" (Prog Archives).

RATING:  7.5 / 10

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*. Steven Wilson .*

Album: Drive Home (2013)(Ep 7 Track's)
Genre: Prog Rock (Crossover/Art Rock)  /  UK

‘Drive Home’ is a two disc set – Disc One is a DVD featuring the Jess Cope directed videos for two of the tracks from ‘The Raven..’ (‘Drive Home’ and ‘The Raven That Refused To Sing’) and four tracks recorded live in Frankfurt (‘The Holy Drinker’, ‘Insurgentes’, ‘The Watchmaker’ and ‘The Raven That Refused To Sing’), plus two audio tracks in 5.1 surround audio (the unreleased ‘The Birthday Party’ and an orchestral version of ‘The Raven…). Disc Two, the CD features ‘Drive Home’, ‘The Birthday Party’ the orchestral ‘The Raven That Refused To Sing’ plus the four live tracks from the Frankfurt concert. The two Jess Cope videos are animations and both quite moving in their own quaint way – elevated, of course by the excellence of the music. The real gems though are the live recordings. Wilson has assembled a top notch coterie of musicians and they have delivered in spades. A particularly inspired choice – although they’re all superb – is Guthrie Govan on guitar, not a name particularly well-known outside guitar-players’ circles but, to those in the know, an exceptional player. All four tracks – three from ‘The Raven’ album and one ‘Insurgentes’ from the album of the same name, lean towards the quieter end of the Wilson spectrum with plenty of diverse passages but with less emphasis on the avant-garde squonks and squawls that sometimes dominate his solo work. The embodiment of this is ‘The Watchmaker’, a brooding, moving piece initially played with acoustics and Theo Travis’s flute to the fore but then ripped up with an amazing Guthrie Govan solo. Another highlight is ‘The Holy Drinker’, a prog fan’s dream with time signature changes a-plenty and a rare opportunity, courtesy of Nick Beggs to see and hear a Chapman Stick in full flow. So, much here for fans to drool over – especially as all the audio content is unreleased stuff and ‘The Birthday Party’ is a new track – written at the time of ‘The Raven..’ but not included. Hard for a reviewer to sum up without resorting, as Fish would say, to the old cliches – but it has to be said that ‘Drive Home’ can only be described as a triumph, catching the genuinely self-effacing Wilson at the absolute peak of his powers and cementing his place as one of the most innovative artists in progressive rock. Thought I’d just ramp up the hype one more notch… Review by "Alan Jones" (http://getreadytorock.me.uk).

RATING:  8 / 10

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*. BarroQuejon .*

Album: Concerning the Quest, the Bearer and the Ring (2003)
Genre: Prog Rock (Metal/Symphonic/Opera Rock/Folk/Medieval)  /  Chile

Chile born David Hanus is no longer with us but has left behind an innovative album with "Concerning the Quest, The Bearer and the Ring" that will likely appeal to Tolkien fans. The influences of "Lord of the Rings" are so prevalent that it often feels like a soundtrack to the Tolkien classic. The medieval musicianship is as whimsical as Gentle Giant in their most pastoral mood with Elizabethan pipes and time signatures playing a dominant role. Each track offers a medieval soundscape and is a genuine treat. Where the album falls short of the mark however is in the overlaid vocals which are often strained and too heavy for the music. The grandiose interplay of twittering woodwind and orchestrated keys are definitely bombastic and work well throughout the first three tracks. Highlights include the grandeur of 'The Breaking of the Fellowship', and the upbeat perky 'The Awakening of Fangorn'. The vocals are again are oddly placed though more like Queen with the overlaid harmonies, that feel a bit overkill. There is so much happening on the album it becomes slightly over-exaggerated, whereas when the music peels back and allows a more subtle approach, particularly with the wonderful piccolo, the music is a sheer delight. 'With Faramir' is replete with the tension and release of dancing pipes and staccato keyboards with more overlaid vocals. Each track kind of sounds the same and perhaps this is intentional as it is such a pronounced sound throughout. The quirky time sigs change often and keep the listener on their toes as it shifts without warning or logic on 'The Battle of Pelenor'. The darker tones on 'Kirith Ungol' are very welcome after all the bombastic jumpy music previous. The piano is a perfect embellishment with some beautiful synth pads as a foundation. It breaks into a flute passage and then some staccato orchestrated flourishes. The instrumental is a highlight for my ears without the vocals overtaking the melodies. This one reminds me of the cinematic work of The Enid and is absolutely brilliant. 'Until The Slopes of Orodruin' also focuses on piano at first, and again has a darker feel though the vocals return and again are multi layered. There is a passage of uptempo keyboards and a steady percussion but this is overdone with the vocals and constant tempo breaks. 'Towards You' is a melancholy symphonic song with very good soft singing, some of the best on the album and one of the most beautiful songs on offer from Barroquejon. 'In Mount Doom' returns to the heavy handed orchestrated soundscape and breaks the peaceful atmosphere. There are a ton of vocals and loud blasts before the flute and piano solo comes in and this is a fantastic component of the track. It is soon joined by layered vocals that spoil it for me. The epic feel is unmistakeable but it is not easy listening. 'The Final Battle' begins quietly with nice harmonies but it soon builds into a cacophony of sound with huge outbreaks of synthesizer and booming bass and drums. Again the sound is akin to Queen in their early incarnation. The tale is coming to a close and it moves to the ultimate 'The Quest: There and Back Again'. The final track has some pleasant synth atmospherics, and is dominated by flute breaks and synth solos. It is an instrumental bookending the album well. Overall I liked the music of Barroquejon; a fitting tribute to a man with a very ambitious vision. Review by "AtomicCrimsonRush" (Prog Archives).

RATING:  7 / 10

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*. Ganeša .* (Singles)

Single 1: Put / Mala kola (1973)
Single 2: Za usnule oči / Gubim te (1974)
Single 3: Galebov let / Ko je zaboravio da pozove Darija (1975)
Genre: Prog Folk (Folk Rock/Psych/Blues)  /  Serbia

Songs / Tracks Listing
01. Put (S.1)
02. Mala kola (S.1)
03. Za usnule oči (S.2)
04. Gubim te (S.2)
05. Galebov let (S.3)
06. Ko je zaboravio da pozove Darija (S.3)

RATING:  8 / 10

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*. YES .* (SACD Remaster 2013)

Album: 90125 (1983)(SACD Remaster 2013)
Genre: Prog Rock (Symphonic Prog)  /  UK

CD 14 - High Vibration: SACD Box (Japanese Box Set 2013)

I'll admit I wasn't to thrilled with this line-up of musicians when it first came out with a new guitarist and no Rick Wakeman. But I was happy to see Anderson, White and Squire back together. It was also cool seeing Tony Kaye back in the fold even though he hardly contributed. As everyone should know by now, this wasn't supposed to be a new Yes album but when Jon Anderson came in to sing lead vocals that all changed. People who give this album bad reviews I think are a bit unfair. In the 80's, prog was DEAD as dead can possibly get. 1983 was filled to the brim with crappy machine-made music. Break dancing was all the rage and Madonna and Michael Jackson were dominating the airwaves. If you wanted to have any relevancy and a record deal of any sort in those days, you needed to have a more accessible sound. I think Yes did a fine job of not sounding like an arena-rock band and crafting an original sounding album with some prog flourishes that was accessible. It became a big surprise hit. It is not a prog album I will admit, but you can't deny that the musicianship is still well above average. Great vocals and fun songs throughout. Review by "ster" (Prog Archives).

RATING:  8 / 10

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*. CiRCA: .* (Reissue 2013)

Album: Circa: HQ (2009)(Reissue 2013)
Genre: Prog Rock (Crossover/Jazz/AOR/Pop)  /  USA

Let me begin by contradicting the previous review. This Circa album is far, far better than the first one, in fact it is an exceptional album. Now, I am one of those that can not hear anything Asia or related and the first Circa album did not even made it to my CD player. It was after I was forced to hear this one in a car that I did really paid attention to this band. The first Circa album is not my cup of tee, I won't even play it again. First of all there are a few tunes in here that are incredible good, for Yes fans, Tony Kaye formations, there is plenty to like in this album, as there are so many well crafted organ parts, really a treat ! Just listen to the last cut, "remember aling the way" at 12:35 minutes long the one that stands out for me. The guitar work is also notable and there are some parts that really makes you want for more. One of the most tragic things in Prog Rock is its magical ability to find the worst singers available and the worst lyricists in the planet, I am happy to say that in both categories Circa performs very well. In all one album that deserves better and prejudice, like the one I had just 'cos is Asia related will make you loose the oportunity to listen to une of the jewels of the year, along with Magma, Mouse on Keys, Forgas Band Phenomena, Kotebel, Umphrey's McGee, N.y.X , Gösta Berlings Saga, the decemberist, Zu and Miriodor. Before being put down by the first review, make your own judgment, get a copy of this album and digest it , you might be as surprised as I was, 'cos I was not expecting such a good album from anywhere near any Asia related band. 
Review by "Sonicexplorer" (Prog Archives).

RATING:  7.75 / 10

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*. Nautilus .*

Album: Above Water (2013)
Genre: Prog Rock (Crossover/Jam/Fusion)  /  USA

Nautilus is an ever evolving sound rooted in progressive jam and plain ole’ feel good music. The band is comprised of Jonny Rienerth on drums, Evan Bost on keyboards and vocals, Connor White on guitar and vocals, Andy Blair on bass and vocals, and Brian Smith on guitar. Forming in the fall of 2010, Nautilus started when five students at UNCW banded to form Heavy Living. The band’s lineup and name have since changed, but the unanimous spirit to create passionate music moment by moment has not. Their influences are broad, ranging from classic rock, such as Led Zeppelin, Jimi Hendrix, and Van Halen, to more progressive sounds like Umphrey’s Mcgee, Weather Report, and Steely Dan. Their original song structures can be characterized by catchy melodies, altering time signatures, volume dynamics, vocal harmonies, and tightly crafted lyrics. In a live setting, the band plays their songs with a large degree of improvisation, always keeping the music and set-lists unique. Although Nautilus is still young, they have been able to play several festivals and have shared the stage with major artists, including opening for Rusted Root and playing an Umphrey’s Mcgee after party with Snarky Puppy. The band has also found a home base of sorts at The Whiskey in downtown Wilmington, consistently packing the venue every time they play. Nautilus’ growth in the Wilmington music scene is due in part to an ever growing and cohesive group of friends that continue to support the band show after show. This playful and positive attitude has become a cornerstone of the Nautilus experience and has guided the growth of the band to where it is today. Looking into the future, Nautilus plans to further develop their sound and spread the positive message that is so easily found in their music. (www.facebook.com)

RATING:  7.5 / 10

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*. Dropshard .*

Album: Anywhere But Home (2011)
Genre: Prog Rock (Prog Metal/Neo Prog)  /  Italy

'Anywhere But Home' is the first full-length release of Italian band DROPSHARD. It has a variety of songs, from the pastoral 'Look Ahead' to despair laden 'Changing Colours', from acoustic 'Again' to closing track 'Look Behind'. There's darker edged bonus 'Freedom Supermarket' also. Their music is moody, sometimes uplifting, but always making good use of flowing melodies with superb instrumental and vocal harmonies completing the picture. Lots of light and shade in arrangements can be found. However these changes never sound forced. The result is a wonderfully atmospheric stuff. Everything comes together - Sebastiano Benatti's guitar work is exemplary, keyboards contribution of Tommaso Selleri is subtle, Alex Stucchi puts in a strong performance on bass, drummer Tommaso Mangione is spot on throughout and Enrico Scanu takes care of flute and lead vocals. This singer can reminds of Mariusz Duda. Obviously, the first gentle hint appears to be Riverside. Although you can hear traces of such renowned bands like Porcupine Tree, Dream Theater, Quidam, Satellite. Well, influences are present but Dropshard have their own style. With 'Anywhere But Home' these Italian guys have created an album full of intriguing and high quality music. This CD should appeal to a wide ranging prog audience. Review by "PH" (Prog Archives).

RATING:  8 / 10

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*. Robert Wyatt .*

Album: '68 (2013)(Archival Reissue)
Genre: Prog Rock (Canterbury Scene/Psych)  /  UK

Archival release, 1968 but I guess he is also 68 this year, classic Robert Wyatt and play with words possibly, or hey, numbers! the booklet comes with extensive liner notes featuring an interesting interview with Robert Wyatt, talking about the period, touring with Soft Machine as support for Jimi Hendrix in America and trying to recapture memories of these recording sessions, which appeared to be lost in the mists of time, but with "'68" sees the light of day 45 years later, for fans to appreciate, much to listen to and a great job done with the sound quality, Jimi Hendrix drops by to play bass on "Slow Walkin' Talk". : ) Review by "poeten" (Rate Your Music).

RATING:  8.25 / 10

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