*. Okajimahal .*

Album: Broken Moment Passes (2008)
Genre: Prog Rock (Heavy/Metal/Exp./Fusion)  /  Japan

It’s different because it isn’t very often progressive rock includes violin. In this case, the drummer of HeavensDust has been smart enough to do so. This gives the music a certain “lift” if you can call it that. Adding violin to the band, makes the music stand out from what you’re used to hear when listening to this genre of music. The band plays very well. The sound and production is good, and the tracks vary a lot. This makes it worth listening to and very interesting. This is an awesome CD (if you like violin that is). Give Okajimahal – ”Broken Moment Passes” a chance. It’s very good progressive rock, worth adding to your collection. Review by "Dag Fjellby" (www.cdbaby.com).

RATING:  7.5 / 10

.

*. Atlantida .*

Album: Na Krilima... (2011)
Genre: Progressive Metal  /  Serbia

Songs / Tracks Listing
01. Praštanje
02. Utopija
03. Noć ili dan
04. Uspon i pad
05. Zauvek
06. Ikarov let
07. Na krilima plavog anđela
08. Za nas
09. Vrela stvar, ti i ja
10. Sve se ponavlja
11. San
12. Istina

Line-up / Musicians
Vuk Mirasevic / Guitar
Nemanja Savic / Vocals
Goran Miljevic / Keyboards
Danilo Zecevic Zeka / Drums

RATING:  7.5 / 10

.

*. Causa Sui .*

Album: Euporie Tide (2013)
Genre: Psychedelic Space Rock (Jam Band/Exp./Stoner)  /  Denmark

Since they formed in 2004, Danish instrumental four-piece Causa Sui has become a much revered act on the fertile European psych scene. The soil planted in festivals like Roadburn, Roskilde, Burg Herzberg, and praise been harvested in Uncut, Julian Cope, Mojo. As well as growning a dedicated fanbase - paying top euros for a first edition vinyl of any of the bands 7 past LPs. Many psych- and stonerrock bands aim for the perfect imitation of that vintage heavypsych sound circa 1970, but Causa Sui have forged their own distinct path. Causa Sui draws on a larger pool than the usual derived exploration of Sabbath riffs and clichéd krautrock jamming. Collaborations include members of Tortoise and Chicago Underground Collective (under the name Chicago Odense Ensemble) and Sunburned Hand of the Man (released as Pewt'r Sessions) and the band always adds untraditional flavours, past and present, into their seething experimental sound. Causa Sui's has been described as the sound of a giant wave rolling up through the last four decades of rock, which is truer than ever before regarding their latest, and most ambitious album to date, Euporie Tide. Yes, the heavy riffs are certainly here, but it's apparent that it does not tread the waters of retro rock . There's a different depth here. Whereas previous albums was brewed with spontaneity, and flickers of complete improv, Euporie Tide was meticulously perfected over years of work. Opening track, Homage, pays tribute to the early/mid 1990s American grunge and stonerrock bands the band grew up with. From that point of departure Causa Sui goes on to weave a rich and complex textile, with threads coming from early 1970s electric jazz, post-rock, exotica, heavy rock, raga and all kinds of psychedelia. Whether the band goes for straight up ROCK or ventures into freeform territory there's always that certain warmth and atmosphere present, which is so characteristic for Causa Sui. When one reaches the multigenre-influenced grooves on the albums D-side it's obvious that the band has arrived at something that is very relevant in the present day. The album was recorded and produced by Jonas Munk, crafting a sound that is simultaneously naturalistic in approach, yet strangely detailed. The album was mastered in a way as to maintain the full dynamic range of the recordings. (www.amazon.co.uk)

Songs / Tracks Listing
01. Homage (10:08)
02. The Juice (6:05)
03. Echo Springs (5:06)
04. Boozehound (5:19)
05. Mireille (7:13)
06. Fichelscher Sun (2:14)
07. Ju-Ju Blues (6:35)
08. Sota El Cel (1:40)
09. Euporie (10:54)
10. Eternal Flow (9:25)

RATING:  ???????????

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*. Troitsa (Троіца) .*

Album: Жар-Жар (2008)
Genre: Prog Folk (Ethno/World Music/Folk Fusion)  /  Russia

Songs / Tracks Listing
01. У цёмным лесе
02. Удоль па рэчачцы
03. Тры янгалы
04. На гранной нядзелі...
05. Ведзьма
06. Жар-жар (казка)
07. Ой маю маю...
08. Кумэ
09. Каза
10. Ой рана рана...
11. Трыпціх (а. Німа лёду, б. Ехалі сватове, в. Ходзіць чыжык)

Line-up / Musicians
Ivan Kirchuk / vocals, domra, fiddle, gusli, zhaleika, harmonica, lyre, ocarina
Yuri Pavlovski / drums, gong, goblet drum, djembe, gandang, bells, xylophone
Yuri Dzmitriev / guitar, domra, zither, fiddle

RATING:  7 / 10

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*. Kostarev Group .*

Album: Kosmobob: Vegetarian (2012)
Genre: Jazz Rock Fusion (Avant Prog/Exp.)  /  Russia

The release of “Kosmobob: Vegetarian” was long and thorny but in the past years the album has become legendary and cult simultaneously. And now the details. First of all, Alexander Kostarev is a guitarist-virtuoso with his unique manner, an ideologist of art-prog-rock and experimental music, a creator of his own Jazz Studio, a famous teacher of guitar mastery, he is well-known and respected both in our country and abroad. Second, his band “Kostarev Group” which celebrated the 35th anniversary a year ago is a cult group not only among the art-prog experts but, what is especially honorable, among the colleagues of music guild. Third, “Kosmobob: Vegetarian” contains the historical records, miraculously made in the period since the end of 70-s of the last century till the beginning of the new age. They clearly show that “Kostarev Group” is a unique band which can be put in a line with such great innovators of the second half of the XX century like Frank Zappa and Robert Fripp and his “King Crimson”. (www.cdbaby.com)

RATING:  7.75 / 10

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*. Gran Torino .*

Album: Fate of a Thousand Worlds (2013)
Genre: Prog Rock (Symphonic/Heavy/Jazz/Exp.)  /  Italy

GRAN TORINO is a young italian band, originating from the Verona area. The foursome came to life just before the New Millenium, aiming at covering the classics from LED ZEEPELIN or DEEP PURPLE. After a decade practising, GRAN TORINO felt it was time for composing its own music. "GranTorinoProg" (2011) features complex instrumental music, still melodic though. It was followed by "Fate Of A Thousand Worlds" (Musea, 2013). This second effort proves to be really exciting, displaying over-the-top Progressive rock, with influences ranging from JETHRO TULL (Without flute) or KANSAS (Without violin), to LIQUID TENSION EXPERIMENT. Not to be missed ! (www.musearecords.com)

Songs / Tracks Listing
01. Child of the Stars
02. Absolute Time
03. The Battle of Velasquez
04. Dead Suns
05. The Fog of Time
06. Empty Soul
07. Arìda
08. Empty Soul
09. End of a Planet
10. Fate of a Thousand Worlds

Line-up / Musicians
Alessio Pieri / Keyboards
Gian Maria Roveda / Drums
Fabrizio Visentini / Bass
Leonardo Freggi / Guitars

RATING:  ??????????????

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*. Maschine .*

Album: Rubidium (2013)
Genre: Prog Rock (Crossover/Metal/Jazz/Neo Prog)  /  UK

Rockers, exit stage left, proggers, stay. With the debut record that young whipper snappers Maschine have unleashed, they introduce themselves by letting us know that they can play just about any style of prog. Formed by session/live axeman & ex-Tangent member Luke Machin, Rubidium takes just about everything you can think of in the vein of art rock including male/female vocals, guttural & clean vocals, solos and soundscapes from just about every synthesizer made, insane time signatures, jazz, and jam sessions in about a hundred different keys, plus you have Machin’s personal touch on his axe and abroad. With the record you hear Marillion, Anathema, Dream Theater, Meshuggah, Glass Hammer, and so on…but because of the hodgepodge of influences and trace elements of about anything they can throw into the mix, Maschine tends to lack identity, not being all that unique, as there is no focus on a certain sound, per say, but rather on the musicianship instead. Rubidium is more fearless than narcissistic, but you still can’t avoid the pompous attitude, as it’s strictly a record for those who go nuts over prog, more than likely not being a striking set of tunage for those who just want to rock out. Not necessarily a guitarist’s album, per say, Machin does make his presence known. The first track, the ten minute “The Fallen,” tends to go everywhere, not diving into a multi-faceted composition, but treading all waters. Nevertheless, the jazzy “Cubixpro” reflects modern fusion, plus the mellow moments within “Invincible” and the two-part “Eyes” makes the music often unpredictable where all of this put together produces a record that sounds like a modernized Tales from Topographic Oceans (remember that when prog seemed to lose the plot). So all you proggers, you’re probably going to love it, but please don’t sit there like a bunch of catatonic invalids when seeing this band on stage, let the unfortunate empty seats (due to the limp-dick promotions of some festivals) do that. It’s a debut that goes all out, they definitely said, “fuck it, were going to play what we want.” Review by "Tommy Hash" (http://ytsejam.com).

RATING:  8.25 / 10

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*. Raw Honey .*

Album: Ragweed (1974)
Genre: Prog Folk (Psych./Pop/Rock)  /  USA

Songs / Tracks Listing
01. Cities fantasy
02. Look past tomorrow
03. Message to pretty
04. Frank's escapade
05. Key West
06. Yesterdays dreams
07. Your brother Miguel
08. Lovers dream
09. Leaving you behind
10. Viper
11. Winters grey
12. Ragweed

Line-up / Musicians
Duane Schumacher / autoharp, piano, vocals
Janet Bent / vocals, percussion
Jeff Parker / guitar, vocals
Win Bent / bass, vocals
Carl Schumacher / keyboards

RATING:  7.25 / 10

.

*. Cats On The Roof .*

Album: Pros And Cons Of Solitude (2012)
Genre: Prog Rock (Jazz Fusion/Psych./Space Rock/Exp.)  /  Ukraine

Lizard records, sempre attenta nell'esplorare la scena avant-prog dell'est russo e dintorni, è lieta di ufficializzare la distribuzione del primo CD della band Ucraina CATS ON THE FLOOR "Pros and Cons of Solitude". Il sound dei Cats on the Floor si colloca in una dimensione space-prog-rock strumentale, inevitabilmente debitore di certa psichedelia Floydiana, nonchè di atmosfere filmiche con affascinanti echi Morriconiani, caratterizzato da trip strumentali intorno alla chitarra ispirata e sempre avvincente di Max Rudensky (grande appassionato anche della musica di Angelo Badalamaenti, in particolare di Twin Peaks), addetto anche a tastiere e sax. Blues-prog-jazz-fusion all'idrogeno, proiettato nello spazio dal preciso pulsare ritmico di basso (Alexander Yegorov) e batteria (Yuri Sinitsky), con una chitarra sempre avvincente (come un David Knofler in orbita spaziale?), coadiuvata da scie e fondali di sintetizzatori. Il delirio di "Dune" con un'acida intrusione di sax, le accattivante "Leaves", "Breakdance (Signals)" e "Pros and Cons of Solitude", gli space-blues di " Family Business" ed "A February Whores", la progressione pulsante alla Hawkwind di "The Voice of Makhalee", il finale lisergico di "Cosmos Eve", tutti momenti importanti di un disco forte di una propria personalità e di un'espressività ipnotica quanto melodicamente coinvolgente. (www.lizardrecords.it)

RATING:  ?????????????

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*. Mystic Morrison Visions .*

Album: Fuzzy Set (2010)
Genre: Prog Rock (Instrumental/Fusion/Avant Prog)  /  Russia

MYSTIC MORRISON VISIONS from Volzhsky, the Volgograd region (from left to right are): Garegin Benglyants (drums), Dmitry Smolentsev (keyboards), and Aleksej Esin (bass). The band’s history went back to 2002 when Benglyants and Esin used to play (respectively on keyboards and on solo flute) in a obscure rock ensemble DR.ZOLDBERG. In 2009, when the group got disbanded, the two resumed rehearsals teaming up with well-experienced keyboardist D. Smolentsev: respectively Benglyants shifted from keyboards to drums and Esin picked up a bass guitar. The trio perform all instrumental, keyboard driven, colorful music straddling a border between avant-garde improvisation and funky-jazz groove… (https://myspace.com/mysticmorrisonvisions)

Songs / Tracks Listing
01. Impressive
02. Angry Es-Moll
03. Crawling Aleister
04. Hugo
05. Octopus
06. Merry-Go-Round
07. Fourth

RATING:  6.75 / 10

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*. Sledě, Živé Sledě .*

Album: Rostilny! Plants! (2000)
Genre: Prog Rock (Avant Garde/Chamber/Avant Folk)  /  Czech Republic

Slede, Zivé Slede's third album, Rostliny! Rostliny!, (Plants! Plants!) is a beautiful piece of work. To the skilled songwriting the group added extra production this time around, giving special care to atmospheres. Ivan Palacky (guitar, vocals) wrote most of the music and lyrics. The instrumentation of guitar, double bass (Jennifer Helia de Felice), and bassoon/clarinet (Brona Smid) brings out both the antiquated and fresh sides of the pieces, riding the fence between Czech folk and avant-garde songwriting. An impressive roster of guests contribute touches here and there, including Pluto bassist Tomás Fröhlich (also responsible for the mix), Boo and Rale cellist Andrea Kostankiewicz, and Volapük violinist Takumi Fukushima. Three songs ("Brussels," "Fair Warning," and "Jack") are sung in English by Felice, everything else is in Czech (the booklet contains English translations). The music lies somewhere between new klezmer ("Plants!") and the medieval progressive rock stylings of Gryphon, an obligatory reference thanks to the bassoon and use of counterpoint (especially in "Jelizaveta in the Kitchen," a highlight). Felice's bass work pushes the music toward avant-garde territory, but overall Rostliny! Rostliny! remains melodious, charming, definitely different, and challenging. Fans of Iva Bittová and Rale will be pleased; those interested in Gryphon and even Gentle Giant should also give it a try. Review by "François Couture" (www.allmusic.com).

RATING:  7 / 10

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*. Maddy Prior .* (Remaster)

Album: Changing Winds (1978)(Remaster 1993)
Genre: Prog Folk (Contemporary/British Folk)  /  UK

First issued in 1978, this was a solo project for Maddy when Steeleye Span were at the height of their fame. It would seem she wanted an outlet for her talent beyond the electric-folk confines of the band, as everything on this album is contemporary, and some of it has jazz and rock tinges; most of it is self-penned. I've owned and adored a copy of the vinyl version ever since it appeared, and this replacement CD is an excellent transfer from a 1993 re-mastering. The jewel in the crown for me is 'Accappella Stella', written for her by her husband Rick Kemp. The title says it all - Maddy on her own with no musicians (but Maddy several times - she's multi-tracked with soaring harmonies: "...She walks beautiful by herself"). The first track 'To Have & to Hold' is an impassioned plea for justice for the poor, 'Pity the Poor Night Porter' tells a tale of late night revelry when a band and its roadies gets back to an hotel after a gig, 'In Fighting' takes a sardonic look at a 'domestic' complete with flying crockery. When the CD arrived I played it through as if it were an encounter with an old friend, then I hit the replay button and played it through all over again. 
Review by "C. Gwilliam" (www.amazon.co.uk).

RATING:  8.5 / 10

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*. Psicotropia .*

Album: Psicotropia (2003)
Genre: Prog Rock (Eclectic/Exp./Psych./Metal/Folk)  /  Spain

The debut album by this new prog band from Spain has certainly caught the attention of many fans, as it is noticed from the different web sources where reviews for this recording are submitted. Psicotropia's good fame has only been increased via their praised live performance in BajaProg 2004, in which they reportedly exhibited their aggressive energy in a most convincing manner: this is basically what is expected from almost every power trio, pure energy. Energy is indeed the key word when it comes to defining their prog style - an incendiary combination of 73-75 KC and early Primus, with touches of modern psychedelia, some clear hints to prog metal, and even some occasional minimalistic nuances on synthesizer (as in the opener 'Negro' and the initial section of 'Oigo Voces'), courtesy of bass player Jaime Mariscal. The recurrent use of powerful guitar riffs and chord progressions, as well as cleverly crafted mood shifts, bear the signal of the Crimsonian thing: but all in all, Psicotropia manages to create a voice of their own. The band's line of work is framed in a unitary strategy: the threesome obviously feeling at ease as a well- oiled ensemble. Yet, they don't conform to the rules of the guitar/bass/drumkit sound all the time: guests on flute, cello and additional lead guitar add musical colours of their own in order to help the band expand their sonic spectrum. In my opinion, 'Madre Tierra', 'Oigo Voces' and 'Discotropia' are the most featured examples of the album's overall statement; but it is on the 10 minute 'Suite Urdalia' where Psicotropia accomplish their most ambitious facet, with total progressive splendour, may I add. The more ethereal 'Viaje en Re' shows the band's ability to work with subtleties in an inventive way, while 'Pqtq' states a compromise between the ethereal and the rocky. The album's closure 'Delicada Sal Titánica' is just a recitation delivered over a background of piano arpeggios, and dreamy synth and guitar layers: a proper moment for meditation after the rocking outburst that had been taking place in most parts of the previous repertoire. I only wish the ensemble in itself sounded more cohesive, but I guess it's just a matter of maturity and experience: these guys are right on track, and the album is very good, almost excellent. 
Review by "Cesar Inca" (Prog Archives).

RATING:  8 / 10

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*. Salis .*

Album: Signora del Porto (1988)
Genre: Prog Rock (Pop/Rock)  /  Italy

Songs / Tracks Listing
01. Signora Del Porto
02. Ninna Nanna Del Vecchio Facchino
03. Festa Mancata
04. Salis Addio
05. Yankee Go Home
06. Viva Lei
07. Sacco A Pelo
08. Marybel
09. Manchi Solo Tu
10. Un Uomo
11. Dedicato

Line-up / Musicians
Francesco Salis / guitar, vocals
Antonio Salis / bass, flute, vocals
Massimo Salis / guitar
Fabrizio Meli / keyboards
Roberto Erdas / drums

RATING:  7.5 / 10

.

*. Lund Quartet .*

Album: Lund Quartet (2011/2012)
Genre: Jazz Fusion (Trip Hop/Exp./Dub)  /  UK

Once in a blue moon, a debut album makes it obvious the band in question is exceptional. Thirty seconds into Sequoia, the opening track of Lund Quartet, it is clear this is one such album. Immediately, the listener is drawn into an economic soundscape of piano, bass and drums overlaid with sampled trumpets, which help make it a compelling piece. Lund Quartet is Simon Adcock on piano and theremin, double bassist Rob Childs, drummer Sam Muscat, and Jake Wittlin on turntables. They are from Bristol and have been together five years. In 2010, they rented out an industrial unit in a car mechanic’s yard and built their own studio, using equipment obtained from skips and friends. Their music is put together in a similar way to that studio – mixing, matching and borrowing from friends and others. Owing much to jazz, particularly the sparseness of Scandinavian jazz, it has as clear a debt to the ambient music of Eno as it does to trip-hop. Despite such roots, the end results are unmistakably the quartet’s own. The trio of piano, bass and drums lays down a consistently solid foundation propelled by Muscat’s drumming, with occasional piano flourishes but no prolonged solos. As a piano trio, they would be good if unremarkable. The addition of the samples from Wittlin makes the music unpredictable, fresh and varied, transforming it into something more special. Mostly, those samples are from friends of the group, seven of whom are credited with playing wind instruments or slide guitar. As the credit acknowledges, those friends were “recorded, chopped and scratched”. Whatever the actual process, their instruments are integrated into the music, frequently sounding as if they were playing with the trio in real time. Just as skilfully, on Love’s Madness a sample of the great South African vocalist Miriam Makeba joins the trio, sounding like she is singing along with them; only the occasional bit of trickery gives the game away. As with any successful recipe, the key is using excellent ingredients and combining them correctly. And Lund Quartet do so perfectly. Review by "John Eyles" (www.bbc.co.uk).

RATING:  8 / 10

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*. Harsk .*

Album: Engineering Armageddon (2013)
Genre: Prog Rock (Heavy/Crossover/Metal)  /  Norway

Harsk is that thing you like so well; heavenly symphonic, progressive, heavy as shit - spiced with a delightful pop rock sound here and there. But not too much. The band was officially formed in February 2007, although the idea was formed around 2003. Because of the lack of a drummer and vocalist - and a place to practice - it took a while before the band went from idea to band. The four years before the band was formed had been used by Odd Magne and Ivar to compose and record material. A large part of this material ended up being used in Harsk's first EP "Promise of a Brave New World". The lyrics were written last by Hans and Odd Magne with the help of Thomas Fiske - the band's first vocalist. Harsk's debut album ("The End") was released on December 14th 2010. (www.harskband.com)

Songs / Tracks Listing
01. Engineering Armageddon
02. One Million Dead
03. Rust pt. 1
04. Oathbreaker
05. Transformation
06. Feed the Fire
07. Rust pt. 2
08. Fall From Equilibrium

Line-up / Musicians
Eirik Wolfenstein / lead vocals
Odd Magne Risan / guitar
Ivar Andreas Nyland / synth, keyboards
Hans C. Eidseter / bass, backing vocals
Vegar Ytterdal Larsen / drums
Stig Nergård / additional vocals

RATING:  7.5 / 10

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*. Arlon .*

Album: On The Edge (2013)
Genre: Prog Rock (Neo/Crossover Prog)  /  Poland

Songs / Tracks Listing
01. On The Edge
02. Dream
03. Everything For Her
04. Lies
05. The Key
06. It's Your Day
07. Equalis
08. Can I
09. Was It Worth It

Line-up / Musicians
Pawel Szykula / vocal
Wieslaw Rutka / guitar
Maciej Napieraj / bass
Jacek Szott / keyboards, saxophone
Pawel Zwirn / drums

RATING:  7.25 / 10

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*. Maddy Prior (& Jethro Tull) .* (Remaster)

Album: Woman in the Wings (1978)(Remaster 1994)
Genre: Prog Folk (Contemporary/British Folk)  /  UK

Maddy Prior has become synonymous with the voice behind Steeleye Span. It was as much to escape the ghost of Steeleye as to make her own mark that she embarked on a solo career in 1978. That move caused both a sensation and consternation within the UK folk press and folk community. While Maddy as a writer had been involved in re-writing and editing epic traditional ballads as part of the Steeleye Span repertoire, her own progress as a songwriter in the singer/songwriter framework had not been documented. It was with this in mind that Woman in the Wings was conceived and recorded. Listening to Woman in the Wings now in 2004, it strikes me that it has much in common with Steeleye Span's later music. 'Roller Coaster', for example, has the Pop/Folk vibe of material on Sails of Silver and the full-voiced chorus recalls Steeleye in their harmonic prime. Likewise, 'Catseyes' -- behind the reggae strut -- lays a song in form and structure like that which Steeleye would have attempted. The simple 'Mother and Child', with just piano accompaniment, recalls the call and response narrative of traditional ballads like the 'False Knight on the Road'. 'Gutter Geese' started with distant chanting as in 'Gaudette' and mentions 'below the salt' in the lyrics referring to the social standing reflected in the phrase. It is abundantly clear that while Maddy Prior's solo career was meant to show that she had outgrown the Steeleye Span mantle, there was still a lot of Steeleye in there. What also emerges from Woman in the Wings is how accomplished a writer Maddy was at that point in time. Life on the road certainly gave her ammunition, and one of her finest road movies was captured here in the form of 'Roller Coaster'. This song, along with 'Pity The Poor Night Porter' (on her follow up album Changing Winds) number among the most frank and articulate accounts of the musicians life. The connection with performing is also maintained on the title track - a dramatic, ornate ballad complete with orchestration by David Palmer, which almost drifts into Renaissance territory at times with David Palmer's piano sounding not unlike John Tout and Maddy's vocals recalling Annie Haslam. 'Deep Water' and 'Long Shadows' dovetail neatly into one another, with the stark atmosphere of the former quickly dissolving into the gorgeous 'Long Shadows', one of Prior's finest and most romantic compositions. Here David Palmer's string arrangement recalls his work with The Johnstons on their Give A Damn album from 1968. While Woman in the Wings had many familiar musical places for Maddy Prior to work from there were some surprises. The big band shuffle of the closing 'Baggy Pants' that initially seemed flippant and throwaway now seems to create an unexpected high note to end the album, while 'Catseyes' contains an addictive chorus, and 'I Told You So' bops along in a Jazzy manner not unlike Manhattan Transfer singing 'The Fair Haired Boy' and comes complete with Benny Goodman-style clarinet. Ian Anderson's flute lent a distinctly Jethro Tull feel to 'Gutter Geese' and Martin Barre's guitar lip up 'Cold Flame' and the Tull rhythm section anchored the album in contemporary rock fields. In conclusion, Woman in the Wings marked the beginning of Maddy Prior's public career as a singer/songwriter. However, the seeds had been sown in Steeleye Span and in future they would permeate the Steeleye output with a greater magnitude. This is the first public sighting of that style, and though flawed, is still a worthwhile effort. 
Review by "John O'Regan" (www.greenmanreview.com).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Mikail Rafiyev .*

Album: Revival EP pt.2 - Through The VooDoo (2012)
Genre: Prog Rock (Art Rock/Exp./Industrial/Electronic)  /  Azerbaijan

Songs / Tracks Listing
01. Molotov COCKtail
02. Mirrors
03. Throne
04. Through The VooDoo
05. Valley
06. Molotov COCKtail (The Last Phone Call)

Line-up / Musicians
Mikail Rafiyev / Vocalist, Song Writer, Instrumentalist, Programming

RATING:  6.5 / 10

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*. David Galas .*

Album: The Ghosts of California (2011)
Genre: Prog Rock (Gothic/Dark Prog)  /  USA

“The Ghosts Of California” is the so far latest album by David Galas. He continues to follow his unique style of dark-rock as the album focuses on the decline of America in a broken post-apocalyptic world of dust and abandoned cities. On this third opus, David employs more acoustic and standard song writing while integrating his heavy production known throughout his previous two albums. Layered guitars and harmonized vocals are trademark again on this album. You can hear influences from his previous band LYCIA. The album features 13 tracks including “The Ghosts of California”, “Everything and Nothing” or “The Killing Tree” and also this album has a running time of 70+ minutes! (www.gh-records.com)

Songs / Tracks Listing
01 - Intro - Sect XIII
02 - Ghosts Of The American Dream
03 - Everything And Nothing
04 - The Killing Tree
05 - The Ghosts Of California - Sect IX
06 - Suffering
07 - My Struggle
08 - The Final Solution
09 - Last Call
10 - Into The Fire (Instrumental)
11 - Last Days Of The War (Acoustic)
12 - The Days Of Fall
13 - Autumn's Ending - Sect X
14 - The Significance Of Failure (Columbine Remix)
15 - My Struggle (Regret Remix)

RATING:  8 / 10

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** Italy Prog Bands - Singles 6 **

* Dietro Noi Deserto *
Single: Dentro Me / Aiuto (1971)
Genre: Prog Rock (Pop/Rock)

Songs / Tracks Listing
01. Dentro Me
02. Aiuto
.

*******************************************

* Golf Lima Lima *
Single: Leslie/Speed Limit (1975)
Genre: Prog Rock (Symphonic/Pop/Rock)

Songs / Tracks Listing
01. Leslie
02. Speed Limit

.

*******************************************

* The Valeriano Group *
Single: Diavolo / Tiahvanaco (1977)
Genre: Prog Rock (Heavy/Symphonic/Pop/Rock)

Songs / Tracks Listing
01. Diavolo
02. Tiahvanaco
.

*******************************************

* The Valeriano Group *
Single: L'urlo del vento / Slow down (1977)
Genre: Prog Rock (Pop/Rock)

Songs / Tracks Listing
01. L'urlo del Vento
02. Slow Down

 

***

RATING:  8 / 10

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*. Rose Kemp .*

Album: Mini-Album (2004)
Genre: Prog Rock (Psych./Folk/Alternative/Heavy)  /  UK

ROSE KEMP is the daughter of Maddy Prior and Rick Kemp. She started her career performing live with the band Steeleye Span while still in her teenage years and contributed vocals to several albums by various folk artists. Her first solo album 'Glance' is an acoustic pop record, released on Park Records in 2003. She subsequently toured with The Oyster Band, appearing with them across the UK and Europe. 2004 saw a considerable change in the direction of Rose's musical output. She recorded a mini-album which is very much a rock record, with her playing electric guitar and taking charge of the arrangements and production for the first time. ROSE KEMP produced her second full length effort, 'A Hand Full of Hurricanes', at studios in Bristol and Cardiff. This album was released in February 2007 and then the follower 'Unholy Majesty' saw the light of day in the same year. The following time she had several appearances at acclaimed festivals (f.e. Roadburn, Burg Herzberg) and was touring with Porcupine Tree, Mono, Grails, to name a few. With her next album 'Golden Shrout' (2010) she could refine her style again, the songs are expressing her love for heavy prog rock and drone. The songs are minimalistic and hypnotic, some sort of psychedelic doom featuring heavy riffs and a strong unique voice. (Prog Archives).

Songs / Tracks Listing
01. Bird Song
02. Silence In D Minor
03. Gilded/Tainted
04. Iris' Short And Sweet Instrumental
05. Sing Our Last Goodbye
06. Golden Veins
07. Kick It Up

RATING:  7.75 / 10

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*. Hokr .*

Album: Hokrova Vila (2004)
Genre: Prog Rock (Eclectic/Jazz/Symphonic/RIO/Avant)  /  Czech Republic

This is music originally composed and developed under difficult circumstances in Czechoslowakia between 1979 and 1985. As also known from other countries of the Eastern bloc the authorities only had an interest in music that matched with their dictatorial beliefs. HOKR had a nonconforming musical style and lyrics - tolerated for a while but not officially legalized and therefore the band was an underground insider's tip. But nevertheless they managed to organize several unofficial live performances in and around Prague at that time. Probably this is the reason why HOKR's music is somewhat dramatic. Now meanwhile drummer Petr Cermák emigrated to USA and Czechoslowakia later was split in two parts and therefore doesn't exist anymore. In 2002 the band members decided to come together again to produce their former stuff as a remake. 'Hokrova Vila' is the essence of the new recordings and they can be proud of it with reason. The album is a blend of symphonic, heavy and jazzy rocking parts with several melancholic emotional sections. Noticable of course (especially for non Czech) are Vladimír Liska's unusual native vocals which are often near to a recitative style. And he also delivers a crazy chicken intro for Na Dvore - by all means a special highlight which attracted attention here during the evaluation period of the band. Keyboarder Pavel Cermák uses an Ensoniq synthesizer which often sounds midway between hammond and mellotron and he is predominantly responsible for the dramatic mood. If someone is missing guitars in the main line-up the band is able to point out several cello contributions as a compensation though - except the last song. Furthermore HOKR includes nice saxophone additions here and there. The album starts with the instrumental Tomcat (sorry for using the english translations) somewhat classic symphonic with cello and undergoing several changes in the course further on. We have a wonderful floating grooving part included inspired by bass player Vítek Novák-Rosnecký. Mouse in a trance and Sorrow of the deflowered virgins are having a more jazzy/fusion character with several mood changes whereas Skin lotion with a rumbling bass and Voice of WC are heavy rocking songs with Liska's impressive contributions. The zappaesque Who rules over the stains shows a long mellow, gripping begin and Fallacy No. 64 is full of intense hammond similar keyboard parts which explodes at the end. They seem to be the most emotional songs for the band. Some translations of the lyrics with concealed messages are given on their website and based on the titles I'm quite sure the tracks are referring to their experiences in Czechia. The same for the last song The Cell where Pavel Cermák's keyboard sounds symphonic, near to funfair carousel music. 'Hokrova Vila' offers us a unique sound - a discovery for every prog fan in any case - recommended! Review by "Rivertree" (Prog Archives).

RATING:  8.5 / 10   **GREAT**

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*. Marta Kubišová .* (Remaster)

Album: Songy a Balady (1969)(Remaster 1996 + 1 Bonus)
Genre: Soft Prog Folk (Pop/Rock/Baroque)  /  Czech Republic

BIO: Marta Kubisova's first professional recordings for Supraphon date back to 1963, when she was aged 21. After spending three years singing jazzy tunes in provincial theatres, in late 1964 she followed her discoverer and mentor, the composer and future Supraphon producer Bohu­slav Ondracek, to the renowned Rokoko theatre in Prague. There she performed with superstar Waldemar Matuška and with her later Golden Kids bandmates Helena Vondrackova and Václav Neckar until 1968. In November 1968 Kubisova, Vondracko­va and Neckar, along with producer Ondracek, formed The Golden Kids. They recruited a rhythm section of young beat musicians, giving the sound a progressive contemporary touch. The horn section, on the other hand, featured top players from various pop, jazz and even classical orchestras. This explosive blend of personalities was responsible for some of the funkiest grooves that emerged from the rather conservative Supraphon studios. In 1969 Marta Kubisova and The Golden Kids recorded dozens of songs which were released on numerous seven-inch singles as well as on two albums: “Micro-Magic-Circus” and “Golden Kids 1” (aka “Music Box No. 1”). The repertoire contained original compositions as well as cover versions of international pop, beat and soul hits with Czech lyrics. Within the group Marta was usually given the soulful or melancholic material, as it would suit her deep and dark timbre. Additionally, Supraphon finally released Marta’s first solo LP, “Songy a balady”, presenting a more personal selection of songs. Unlike most other Czechoslovak mainstream artists after the 1968 Soviet invasion, Marta was not scared to stand up for her opinions in public and her choice of lyrics reflected the cheerless political and social situation in the country. Hence at the peak of her popularity she became unbearable for the communist regime. By the end of 1969 she disappeared from radio and TV broadcast, and from February 1970 on she was prohibited from performing in public at all. Her last Supraphon single from summer 1970 – ‘Jakoby nic’ b/w ‘Hare Krisna’ – was already pressed, but save for a handful of “stolen” copies the complete edition was destroyed by the communist censors. (Vampisoul is reissuing this 40-years-lost vinyl gem as VAMPI 45049). Marta spent the next 20 years as a working mother, and also as a brave spokeswoman of the dissident civic movement Charter 77 with her close friend and the future Czech president Václav Havel. Eventually, with the collapse of the Eastern Bloc in late 1989 and in the slipstream of the “velvet revolution”, her voice returned to stages and recording studios. She sings actively to the present day. (www.vampisoul.com)

RATING:  7.75 / 10

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*. Bloque .*

Album: En Directo (1999)
Genre: Prog Rock (Hard Rock/Crossover/Eclectic)  /  Spain

Songs / Tracks Listing
01. Undécimo Poder
02. Descubrir el Sentido Terrible de la Vida
03. Rey de la Noche
04. Hijo del Alba
05. Savoy
06. Ni un Día Más
07. Abelardo y Eloísa
08. El Verdadero Silencio
09. Maldito Traidor
10. Radar Love
11. Caracosida
12. Rockin' in the Free World

Line-up / Musicians
Juan Carlos Gutiérrez / vocals
Juan José Respuela / guitars
Iván Velasco / guitars
Luis Escalada / drums
Pepe Masides / bass
Marcos Gómez / keyboards

RATING:  6.75 / 10

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*. Maddy Prior .*

Album: Lionhearts (2003)
Genre: Prog Folk (Contemporary/British Folk)  /  UK

In "Lionhearts," Maddy Prior's new solo album, Maddy returns to England's historical roots, this time to explore the life of Henry II and his sons, largely through the eyes of Henry's wife, Eleanor of Aquitaine. The now-customary song cycle found on many of her recent albums consists of six songs, here focusing on a particular member of Henry's family--Richard, John, Henry himself, as well as his close friend and Christian martyr, Thomas a Becket, and Richard's chief adversary during the Crusades, Salah Ed-Din. There are also five additional songs: "Salisbury Plain," "John Barleycorn," "Yellow Handkerchief," "Ship in Distress," and "Jupiter," the last based on a melody from Gustav Holst. The songs display all the beauty and charm that Maddy is known for, and the album is one of her most heartfelt since her previous Arthur the King. Though less ambitious in scope than that album, the songs are all accessible and professionally played. Maddy's band shines on many of the songs, especially on Troy Donockley's and Nick Holland's marvelous arrangement of "Jupiter." Hightlights also include "John," "Yellow Handkerchief," and a stunning reworking of the Steeleye Span tune, "John Barleycorn." One disappointment is the dirge-like "Salah Ed-Din," a song that doesn't quite reach the heights to which it aspires. Nevertheless, the CD is definitely one of Maddy's best. One wonders where in history she will turn next. Review by "Mark E. Askren" (www.amazon.co.uk)

RATING:  8.5 / 10   **MARVELLOUS**

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*. The Hypnomen .*

Album: Dreaming of the New Dawn (2007)
Genre: Prog Rock (Crossover/Jazz/Funk/Psych.)  /  Finland

The band was formed in year 1994 as a duo project, which expanded to trio and did their first official release of their instrumental rock in 1997. During the early years of new millennia the band got more players, and they developed their sound towards more artistic heights. Their music has hints of psychedelia mixed to pleasant and accessible mixture of groovy detailed rock and funk. Their large discography and constant concert stage presence in Finland provides a steady flow of positive vibes to any willing listeners. From the progressive rock context their style could be compared to a funkier incarnation of HANSSON & KARLSSON with more players on stage. The keyboard player and the drummer of this group actually have also a similar kind of duo group NIEMINEN & LITMANEN, as the group referred. (Prog Archives)

Songs / Tracks Listing
01. The Darkest Hour
02. The Oath
03. Rising Up
04. The Seeker
05. Sadness
06. Earth to Birth
07. Starchild
08. The Dawn Is Breaking
09. Sacred Mountain Revisited
10. The New Day

RATING:  7.5 / 10

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*. Unstructured Life .*

Album: Conversion in Time (2010)
Genre: Prog Rock (Crossover/Neo)  /  USA

Songs / Tracks Listing
01. Introduction
02. How Did I (End Up Here) ?
03. Spiral
04. Temporary Comforts
05. Without
06. Doubt
07. The Final Exit?
08. Surrender
09. Which Way?
10. Sorrow
11. This Time
12. Reason
13. Regret
14. Juice On The Mountain

RATING:  7 / 10

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*. Serj Tankian .*

Album: Jazz-Iz-Christ (2013)
Genre: Prog Rock (Jazz/Eclectic/Electronic/Ethnic)  /  USA (Lebanon)

Jazz-Iz Christ can be called a lot of things, but perhaps the most concise (but least useful) definition is “jazz album.” In actuality, it’s all over the map of musical styles, containing everything from American jazz to Arabian, oriental to orchestral, slow jam to a little bit of grindcore. It’s very messy and splattering, yet also unified and organized. The first third or so of the album uses jazz as a jumping-off point, exploring textures of sound with both frantic twists and lazy pirouettes. The first six tracks are all instrumental save for “End of Time,” which features a female voice, sultry and luring like a belly dancer for an Egyptian pharaoh. In the middle, the volume knob is turned to the left and Serj has his first singing gig with “Distant Thing.” This is the most traditionally jazz song on the album. One could picture a smoky club at 3am, the upright bassist nearly falling over in a whiskey-plied stupor. “Song of Sand” follows in kind, but that smoky club transforms into a burning desert. The trumpet’s drifting lead part is delirious in the heat, and it’s joined halfway through by a violin that brings the promise of drink. Last in this trilogy is “Garuna,” hauntingly beautiful in its reductionism. Just a piano and Serj singing in his native tongue, it’s a far cry from SOAD’s frenetically excitable brutality. The last third returns to the instrumental motif of the first. Most notable is “Jinn,” which alternates quickly in modes of airy flute and harsh percussion, much like the fire god from which it takes its name. Capping Jazz-Iz Christ off is a song that doesn’t fit into any of these categories and the most pop-oriented song on here, “Miso Soup.” Serj’s strengths as a songwriter are evident in the balancing act of lightly wacky humor with a weighty message. To make a song about the interconnectedness and symbiosis of all living things, Serj doesn’t need anything more than “we all like miso soup.” And a little “gluten free-ee…” The album art for Jazz-Iz Christ, though as literal a translation of the title as possible, has an eyebrow-raising effect. The sole foreground feature – other than the title on a gold starburst off to the side – is a baritone saxophone crucified on a cross, complete with stigmata-like wounds and a crown of thorns, shining with a white aura. Very offensive to some, chuckle-inducing to others – and to still others, both – it’s ultimately ham-fisted and a poor choice. Serj takes the cake for coming out of left field with this one, but also succeeds at his projected goal. If nothing else, Jazz-Iz Christ will break the listener out of a rut, no matter what particular rut they are in. Review by "N. Neal Paradise" (http://inyourspeakers.com)

RATING:  ???????????

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*. Acid Folk Alleanza (A.F.A.) .*

Album: Nomade Psichico (1996)
Genre: Prog Rock (Eclectic/Trip Hop/Exp./Funk)  /  Italy

Il tempo nomade non Ë lineare. E' un tempo ciclico, una lentissima spirale. Il canto Ë l'unico modo che abbiamo per avvicinarci al nomadismo, considerato inutile e dispendioso nel nostro schema sociale e di pensiero, benedetto in un altro spazio, in un tempo parallelo al nostro. Nomade Psichico Ë un invito all'uso del pi˜ potente mezzo che abbiamo a disposizione, il cervello, per andare oltre luoghi, confini, stati, dogmi, essere viaggiatori psichici, parte di un tutto universale. Il Nomade Psichico Ë sin dalla nascita costretto geneticamente a spostarsi, a trasfigurare il suo ambiente, ovunque approda porta ed assimila cultura, la cultura Ë uno spostarsi di genti, uno spostarsi di idee, pi˜ lungo Ë il viaggio pi˜ affascinante Ë l'incontro-scontro. C'Ë disperato bisogno di viaggiatori, i nostri corpi immobilizzati nella lotta di sopravvivenza hanno assoluto bisogno di reportages extrasensoriali. In un mondo ormai vicino al "collasso del reale" Ë la musica che puÚ riconneterci alla vita del cosmo, il ponte che ci consente di ritrovare in noi stessi l'armonia come il risultato delle forze del caos. Finalmente si torna a parlare di musica non solo dal punto di vista edonistico o di sottofondo distaccato. La musica Ë spiritualitý, reazione chimica, chiave d'accesso, questo dovrebbe essere: un suono che parli diverse lingue. (http://xoomer.virgilio.it)

RATING:  7.25 / 10

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*. Underground ZerØ (Ground Zerø) .*

Album: Ground Zero Demo (1983)(Cassette)
Genre: Prog Rock (Psychedelic/Space Rock)  /  UK

Songs / Tracks Listing
01. Never Reach The Stars
02. The Electric Palace
03. The Ship Who Sang
04. Run For Your Life
Extra Tracks:
05. Canes Venatici (1985)
06. Canes Venatici (New Version 2011)

RATING:  8 / 10

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*. Havnatt .*

Album: Havdøgn (2006)(EP Remaster 2012 + 2 Bonus)
Genre: Prog Folk (Acoustic/Contemporary/Neofolk)  /  Norway

Here we have the first EP by Havnatt, originally released in obscurity back in 2006, now remastered and extended with two bonus tracks. Havnatt is Cecilie Langlie and Tom Simonsen of Omit, Skumring, and Vagrant God fame... OK those are obscure projects by most standards but now getting some recognition worldwide thanks to Secret Quarters. Havnatt at least gained some valuable attention as a part of Prophecy Production's compilation, Whom the Moon a Nightsong Sings, "Dagen og natta" shown brightly even amidst perennial heavyweights of the dark/neofolk scene. The first three tracks on Havdøgn are remastered from the original EP. In spite of that, they are closer to a live or demo recording, in terms of production and performance. There are those glaring imperfections that you normally wouldn't find on a studio release, probably a combination of inexperience of the band and their goals at the time. Musically, "Myrulla" and "Havnatt" are rather bland and repetitive, I can't help feeling I'm suffering by not having the poetry in front of me (with English translations, takk). Cecilie's voice is good but not great, not nearly as good as on "Dagen og natta" and other projects. That's a shame because she really shines on Repose and De glemte tider (listen to its title track for comparison). I think she feeds off the power of that style and perhaps the different themes. Here, she seems more uncertain. It's really not until "Prammen" that the music grabbed my attention and connected emotionally. This track is very sensual, not only Cecilie's singing but the accompanying music. Google says a prammen is a type of boat, I really have no clue about the theme of this song and why it's particularly sensual/romantic :) It's unmistakable that nature and the sea play a strong role in Havnatt's music, you don't need lyrics to perceive that. The last two tracks are bonuses for the new release, and much closer to the sound of "Dagen og natta", yet distinct. Production is much better while the music is more mature and focused. They help finish the CD on a higher, though peaceful note. That's the overwhelming feeling of this release: tranquility and beauty. I really couldn't place Havdøgn among the best works of contemporary/neofolk music, and I say that mostly because of the uneven quality of the first 2-3 tracks. However I like the direction they are headed in, and as so often the case, an artist releases a masterpiece leaving us curious as to their origins. I hope Havnatt will create their masterpiece, then we'll look back fondly on this EP and see it as part of their journey and forgive it's missteps. 
Review by "historic_bruno" (Rate Your Music).

RATING:  7 / 10

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*. FM .* (SHM-CD Japan Remaster 2013)

Album: Surveillance (1979)(SHM-CD Remaster 2013)
Genre: Prog Rock (AOR/Art Rock/Symphonic)  /  Canada

Third album of FM named Surveillance from 1979 is equaly loved by me as previous one. This time they gone almost Saga in manner of composing in places with more AOR atmosphere on some pieces with more mainstrema sound, but overall is more then ok , really, no bad moments at all. Still plenty to enjoy here, for prog listners like short Orion, Sofa back both excellent instrumental pieces showing that they are still in bussines. Also I like the vocal arrangements, nice smooth vocal parts, warm tone providing by Cameron Hawkins specially on Random harvest, really nice tune. Closing track Destruction is another highlit for me, strong one, intelligent instrumental parts. Seventh heaven has some great synthesizers, a nice one. All in all I like it, to me is same succesfuly as Direct to disc even as a clear mainstream direction. Review by "b_olariu" (Prog Archives).

RATING:  7.75 / 10

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*. Morre .*

Album: Morphine (2012)
Genre: Prog Rock (Classic/Melodic Rock)  /  Canada

Consisting of Adrian Tonceanu (Vocals/Guitars), Igor Lazebnik (Vocals/Guitars), Tyler Koch (Drums/Backup Vocals) and Tim Young (Bass/Backup Vocals), Morre have been kicking around since 2008, they hail from Toronto, and this will be their third release. With their feet very much in the Classic rock camp, they bring an updated feel to this genre, with a sound that is almost unique, Adrians smoky-lounge vocal style complements Igor’s raspy melodic voice all help to showcase the different side’s to the Morre sound. ‘House On The Hill’ opens up this opus with an eastern flavour, this takes a bit of getting used to at first, but works really well. I then discover that this is a running theme throughout the record, with the use of different instruments, Harmonica, Fluke, Mandolin and what sounds like a kettle drum to create a lush landscape of musical diversity. The rest of the record stands up well, with Morre carving a nice niche for their music to slot into, full of chunky riffs, finger picking solo’s, coupled with their laid back, straight shooting rock style, they bring a sense of fun to their music. There are 13 songs on this album, maybe unlucky for some, but lucky for you if you’re already a Morre fan. Letting Go is the stand out track for me, a Morre take on a classic rock song, with delicate picking, a glorious chorus, a thumping rhythm section and full of emotive playing. Review by "David Farrell" (http://planetmosh.com).
 
RATING:  8.25 / 10   **GREAT**

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*. Le Sensazioni .*

Album: Doctor Faust Suite (1981)
Genre: Prog Rock (Pop/Rock)  /  Italy

Commissioned to write a musical accompaniment to Italian artist Dario Serra's theatre work, the short lived Italian band `La Sensazioni' released this wonderful progressive album that has much in common with many of the best RPI bands from the 70's, despite emerging in 1981. Near gothic classical drama, pompous and grand vocals, searing violin and an inventive, dazzling use of piano, organ and keyboards are all accounted for here, so it can easily be placed alongside endless other memorable Italian progressive albums. In the end, the band were approached to provide a full album, but with only a 15 day turnaround, the rest of the album was padded out with less ambitious pop music that has dated a little, but can still be appreciated by more generous and forgiving listeners. But this one is all about the first glorious 18 minute work. You won't get a better or more grand extended progressive piece that side A's `Doctor Faust Suite'. Everything you could want in a sophisticated RPI album is here. Opening with a very intimidating whirlwind of drum rolls, cold electronic effects and heavy bass, the dark eerie drama unfolds with weeping violin and creeping piano. It soon starts darting back and forth between beautiful pristine romantic passages and sinister, unnerving moments. Melodic and epic Camel-sounding guitar journeys, oceans of constant floating layers of synth, dazzling Mini-Moog runs, even some oddly Zeuhl-like aggressive bass playing here and there! There's also room for some blistering jazz-fusion explosions over nimble piano and haunting passionate Italian male and female vocals full of longing. The second side is a different matter altogether, mostly being more commercial and accessible with dated late 70's dance elements, a very different sound to the classy first side. That's not to say it's bad, though. Besides, I feel once you spend ages devouring complicated progressive rock music, you really start to appreciate a good well-written pop song even more! `Sensazioni Noi' is an upbeat and groovy disco dance floor stomper with punchy bass, swirling Mini-Moog fills, stomping drums and funky guitar. Some will really despise this piece, I think it's short enough to be forgivable - damn catchy too, with a good mix of male and female vocals. `Lenta Un'Idea' is also slightly disco/funk based, this sprightly mix of a dance/pop with proggy moments wouldn't have sounded out of place on an Alan Parsons Project album. `Giochi D'Eta' is a romantic upbeat ballad with group lovely harmonies and is just an exquisite pop song. But far and away the best piece on Side B is `Riflessioni D'Auttuno', a tasteful and stirring instrumental full of evocative violin, gentle washes of pleasant synths, clean guitar soloing and wordless sighed harmonies. It's a really beautiful piece, and stands out most amongst the poppier stuff on this side. So depending on your tolerance and patience, you'll either get one terrific side of music and one unlistenable cheesy poppy mess, or an all-around wonderful album that offers a superb Italian progressive piece with some breezy and well played pop. I think the album as a whole is very impressive, but maybe it's better to think of the second side as mere bonus tracks after the knockout opening. Either way, this little 33 minute gem is overdue a reissue, so it can begin to be truly appreciated. Review by "Aussie-Byrd-Brother" (Prog Archives).

RATING:  7  / 10

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