*. The Gift .*

Album: Land of Shadows (2014)
Genre: Prog Rock (Crossover/Symphonic Prog)  /  UK

Songs / Tracks Listing
01. I Sing Of Change (01:04)
02. The Willows (12:00)
03. Road Runs On 'Til Morning (07:04)
04. Walk Into The Water (06:19)
05. Too Many Hands (05:12)
06. You Are The Song (04:17)
07. The Comforting Cold (19:39)
08. As (01:19)

Line-up / Musicians
Mike Morton / vocals, keyboards, 12 string guitar, flute
David Lloyd / electric and acoustic guitars, bass, keyboards
Joseph Morton / drums and percussion
With:
Andy Coombe / piano on 'You Are The Song'
Andre Lewis / backing vocals on 'The Comforting Cold'
James Fox / violin on 'The Comforting Cold'
Kurosh Davis / viola on 'The Comforting Cold'
Rebecca Jordan / cello on 'The Comforting Cold'
Anna and Evie Morton / voices on 'The Willows'
Andrew Morton / voice on 'I Sing Of Change'

RATING:  8.25 / 10

.

*. The Last Embrace .*

Album: Essentia (2013)
Genre: Prog Rock (Gothic/Acoustic/Prog Metal)  /  France

C’est après 4 ans de concerts, de préparation et de mouvements au sein du groupe, que THE LAST EMBRACE sort enfin son album acoustique et nous faire patienter avant le nouvel album électrique prévu en 2014. Le groupe bien orienté métal progressif voire même atmosphérique nous avait bien surpris avec le précédent opus Aerial, sorti en 2009, par ses qualités musicales, sa finesse de composition et ses orientations atmosphériques, le tout avec une production ciselée, excellente et des titres magnifiques comme Into The Vortex. Sur Essentia, ils reprennent 4 titres d’Aerial : Complete City, Impending Dawn, Aerial et Precious Pond. Ces titres sont bien explicites de leur musique par leur grâce, rehaussée par le talent de Sandy à la voix magnifique, douce et très prenante. 3 autres titres viennent de Inside : Mother, Inside et Can You, et sont révélateurs eux aussi de la performance vocale et instrumentale, notamment avec un piano toujours présent qui magnifie tellement ces titres et par la nervosité à bon escient des guitares, qui renforcent un peu la tonicité des compositions. En tant qu’album acoustique, c’est une vraie réussite avec beaucoup de légèreté et le duel piano batterie sur Can You est somptueux ! Avec 2 nouveaux titres : Essentia et Switch On purement acoustiques mais courts, THE LAST EMBRACE sort des sentiers battus pour donner dans la noblesse musicale, témoin aussi l’adjonction de 2 violionistes, d’un alto, d’un violoncelliste et d’un flûtiste, tout au long de l’album. Cela crée une atmosphère riche, fluide et très sensuelle, carrément dans le domaine de la musique classique, si si. Avec une seule reprise : Roads de PORTISHEAD pour clore l’album, Essentia nous procure pas mal de frissons et s’écoute dans une ambiance soft très caractéristique. Un vrai plaisir musical allié à la douceur, la délicatesse et la magique interprétation des musiciens font de Essentia un album rare et d’une portée qui va bien au-delà du métal atmosphérique ! Revue "frock02" (http://rockmeeting.com).

RATING:  7.5 / 10

.

*. Jack Bruce .*

Album: Silver Rails (2014)
Genre: Classic Rock (Jazz/Blues/Crossover/Pop)  /  UK

It may have been 10 years since Jack Bruce released his last solo album, More Jack Than God, but Silver Rails is definitely worth the wait. Bruce is considered to be one of the greatest bassists of all time, well-known as a founding member of the rock power trio, Cream, and for his fretless bass playing. Bruce recorded Silver Rails at the legendary Abbey Road Studios, and on this album he is joined by many rock luminaries such as ex-Scorpions guitarist Uli Jon Roth, ex-Procol Harum guitarist Robin Trower, ex-Whitesnake guitarist Bernie Marsden, keyboardist John Medeski, and drummer Cindy Blackman Santana. Silver Rails finds Bruce holding onto his blues rock and jazz roots while freely, and successfully, pushing into the realms of Afro-Caribbean and classical music. The result is an album that is strikingly eclectic, yet cohesive – and one of Bruce’s best in his career. Horns gracefully ebb in and out of the album’s opener, “Candlelight,” as Bruce’s smooth bass playing sets the rhythm for this Afro-Caribbean inspired song.  The song ends with Bruce repeatedly singing “Sunshine” as if he is yearning for the renewal of a broken relationship. Upbeat guitar and piano work set the foundation for Bruce’s rich voice and decorative bass lines in “Fields of Forever,” a song that immediately put me in the mood to pick up my guitar and play along. “Industrial Child” is the pinnacle of this album. Arpeggiated piano lines embody the somber mood of this song as Bruce sings about a once-flourishing city that turned desolate after the closure of its freight train station. Bruce’s control of his delicate falsetto and stunning vibrato in this song is truly incredible. I do have a soft spot for the blues, and there are moments in this album that pleasantly bring me back to Bruce’s early days in Cream. “Rusty Lady” is best served loud, and it could easily have found a place on Cream’s 1968 double-album, Wheels of Fire. Similarly, at times, the bass playing in “Keep It Down” is reminiscent of that in Cream’s “Badge” as Bruce sings about burying the heartbreak of losing love. The last song on Silver Rails is “No Surrender,” a driving rock song in which Bruce sings about sticking to one’s passions that ends with Bruce roaring “No Surrender!” If the album’s closing line is any indication of the future, then it sounds like nothing is going to stop Bruce from continuing to engage into his musical endeavors and setting the bar high for himself. Silver Rails is a testament to the longevity of Bruce’s musical genius and proves that his long career is not waning anytime soon. Review by "Nicholas Cho" (www.academychronicle.com).

RATING:  7.75 / 10

.

*. Sabbath Assembly .*

Album: Quaternity (2014)
Genre: Psychedelic Folk (Acoustic Folk/Occult/Gothic)  /  USA

US Folk metal act Sabbath Assembly return with another set of religious themes on their third album Quaternity. This is mostly an acoustic album, with the band utilizing classical percussion and strings for some new sounds to help support vocalist Jamie Myers and percussionist Dave "Xtian" Nuss. Special guests on the album include Daron Beck of Pinkish Black accompanying Jamie on vocals, Kevin Hufnagel of Gorguts on guitar, Mat McNerney and Marja Konttinen of Hexvessel reciting sacred texts, liturgical chanting by Jessika Kinney (Sunn 0))), Wolves in the Throne Room), bass from Colin Marston of Behold… The Arctopus, and organ from "Nameless Void" of Negative Plane. The album is divided into 2 parts, with side A focusing on the four deities worshipped in the theology of the Process Church of the Final Judgment -- Christ, Jehovah, Lucifer, and Satan, and side B takes a look at the four horsemen of the apocalypse of Revelations. Heavy stuff for sure from a lyrical perspective, but musically there's not much that's really 'heavy' going on here, as this stuff is rich in folk themes with plenty of soaring, melancholy drenched musical passages. "The Burning Cross of Christ", despite its lyrical themes, is just a gorgeous sounding piece, with Myers' beautiful vocals floating over alluring violin, cello, acoustic guitars, and keyboards. Some doom metal riffing finally shows up on the haunting "I, Satan", a creepy piece filled with tinkling piano, booming bass, and snarling vocals from Myers, while the epic 18-minute "The Four Horseman" is a well put together, chilling slice of folk/occult music, with disturbing spoken word passages, classical & folk instrumentation, and a really unforgettable vibe. Parts of this song would have made a good soundtrack to an old '70s Hammer Horror film. Quaternity isn't going to be for everyone; much of the lyrical themes are certain to be a turnoff for some, and the continual creepy vibe throughout brings up some pacing issues for those who like a bit of variety in the arrangement department. However, despite all that, there are moments of real beauty here, and Myers' vocals are lovely throughout. For the most part, heavy metal this isn't, but if you have an open mind, this collection of folk, classical, and ominous religious themes is worth checking out. Review by "Pete Pardo" (www.seaoftranquility.org).

RATING:  ?????????????????

.

*. Ben Craven (Tunisia) .* (Reissue)

Album: Two False Idols (2005)(Reissue 2012)
Genre: Prog Rock (Classic Rock/Songwriter/Crossover)  /  Australia

BEN CRAVEN was one of 2011's breakthrough prog artists. Whether it was his singer- songwriter approach to progressive rock, or simply the lavish Roger Dean (of Yes fame) cover art, his 'Great and Terrible Potions' was one of the more acclaimed releases of the year. Although I sadly never got around to listening to CRAVEN's work when it was hot off the press in 2011, a re-release of his estranged debut gives me a chance to redeem myself. If 'Two False Idols' is any indicator of what his later work is like, then I am sure I will be giving Mr. Craven quite a bit more of my listening time in the future. First published under the 'band' name TUNISIA, BEN CRAVEN has re-released 'Two False Idols' under his own name, presumably in the hopes to give t some more deserved attention. Before 2011, it's safe to say that BEN CRAVEN was fairly unknown, even to up-to- date proggers.The choice of musical style on 'Two False Idols' may give a reason as to why the progressive music scene did not instantly pick him up. While many bands in prog nowadays are ever increasingly incorporating more accessible, melodic material into their music, few ever go so far as to bring commerce-worthy sounds into their work. That's not to say that BEN CRAVEN's music would fit into a pop radio station's schedule too well, but some of these songs are very down-to-earth. 'Two False Idols' is of course graced with its fair share of prog; 'Golden Band' (split into two parts for this rerelease) is a great showcase of his memorable melodies overtop an eerie synth hook. 'Captain Caper' is CRAVEN's charming attempt at psych-pop, and I cannot help but feel reminded of DAVID BOWIE while listening to it. The 'pop' sounds manifest themselves most clearly in BEN CRAVEN's unmistakable singer-songwriter approach for many of these tracks. Although Floyd-derived spaceyness is infused in most of the material, the upbeat song 'Enough About You' could have easily come out of the BARENAKED LADIES' catalogue. 'Not Me It's You' is another one that's plenty of fun, but alas, the enjoyment wears thin after a few listens, and they feel out-of-place in the context of what is otherwise a fine piece of Floydian space-songwriter rock. With that being said, 'If You Knew' is arguably my favourite track on the album, and it's about as singer- songwriter as it gets! Although its length of fifty-something minutes is pretty standard for an album, something about 'Two False Idols' feels like it overstays its optimal length by about ten minutes. Nothing on 'Two False Idols' makes me want to turn the album off, but- save for the modified 'Golden Band' duology- BEN CRAVEN's debut sounds more like a collection of songs than a put-together album. There's no denying that the man's got a great hand at songwriting however, and he's got a pretty decent voice to boot. For most of you who may have overlooked this debut when it first came out, or have never heard BEN CRAVEN's work at all, this remixed edition is a very enjoyable experience. Review by "Conor Fynes" (Prog Archives).

RATING:  8 / 10

.

*. Alexander Eletsky (Александра Елецкого) .*

Album: Homunculus (Гомункулус) (2006)
Genre: Prog Rock (Ambient/Exp./Electronic)  /  Belarus

Songs / Tracks Listing
01. The Birth
02. The Pleasure by Reason
03. Dedication
04. March has Come
05. Doubtful Delights

Line-up / Musicians
Alexander Eletsky / keyboards
Homunculus # 1 / bass
Homunculus Vasiliy Dmitrievich / horns
Homunculus # 2 / stringed
Homunculus Sasha / drums

RATING:  6.5 / 10

.

*. Philippe Luttun .*

Album: The Taste of Wormwood (2014)
Genre: Prog Rock (Symphonic/Crossover/Prog Metal)  /  France

"The taste of wormwood " (2014) est la dernière production de  Philippe Luttun prodigieux multi-instrumentiste français, un fabuleux concept album cinématique inspiré par la catastrophe nucléaire de Tchernobyl. Sa musique, subtil mélange de post-progressif moderne, de rock symphonique, de passages métalliques, d'électro / ambient,.... est inspirée par les piliers du genre Progressif de Dream Theater  en passant par Pink Floyd , Yes , Rush , Pain of Salvation , Transatlantic , Neal Morse , E L P , Marillion , Porcupine Tree ... Un album "maison" auto-produit ou  Philippe Luttun  se charge de tout, du chant, des guitares, des claviers, de la basse et des batteries programmées, la charmante Pris. K ( RDSK , Pulse ,..) est venue, ici et là poser, son joli timbre de voix. De superbes compositions servies par une production impeccable ou le contraste entre parties calmes et explosives donne à cet album un incroyable relief avec ses riffs ravageurs de guitares, ses nombreux breaks et soli vintage de claviers. Une oeuvre à classer parmi le top des réalisations progressives de ces dernières années qui met en lumière le travail impressionnant réalisé par le musicien. Je vous invite à découvrir ce fabuleux artiste, de plus que sa production est en écoute sur son site. Un artiste à suivre de près, une fabuleuse découverte !!! Revue "Passion Progressive" (www.passionprogressive.fr).

RATING:  8.25 / 10

.

*. The Hello People .*

Album: Bricks (1975)
Genre: Hard Rock (Pop/Prog Rock)  /  USA

The Hello People reorganized and moved to the Los Angeles area during the early 1970s. N.D. Smart became the drummer in the band. They toured on shows with comedians Richard Pryor and George Carlin. They even appeared on a show with crooner Rudy Vallee. Both Peter Weston and Michael Sagarese left the band leaving it a four-piece group for the remainder of its days. The group  became part of Todd Rundgren’s touring group in the ’70s. During this period George Kiernan joined the group as an extra mime performer holding signs for the group. They continued as a group through the seventies then went their separate ways. (www.redtelephone66.com)

Songs / Tracks Listing
01. One Lifetime
02. It Wouldn’t Have Made Any Difference
03. Dinosaur
04. Just Can’t Help Myself
05. Mad Red Ant Lady
06. Book Of Love
07. Faces
08. I Want Someone
09. So Good To Be Alive
10. Never Met A Girl Like You
11. Pass Me By

RATING:  7 / 10

.

*. Elephants of Scotland .*

Album: Execute and Breathe (2014)
Genre: Prog Rock (Neo/Crossover Prog)  /  USA

The pachyderms from Vermont via the Highlands are back! Their debut, for those of you who missed out on it, was a splendid and well-rewarded work that had everything to stroke the progressive heart, including a sublime package in terms of cover and artwork but most importantly, a set list of shockingly brilliant prog , full of ballsy progressions, swift and nimble playing, infusing the whole with exhilaration. Some noticed Rush influences (yes the glorious bass IS upfront!), others Marillion and other slicker neo-prog bands but truth is this quartet kicks royal behind, while formulating a distinctive touch, evident in each musician's display, totally devoted to team play and freedom to imprint a personal gesture of genius within the grooves. The boys from Burlington (a lovely little town) have set the bar high, so what do we have here? A brighter sound, perhaps a tad heavier as guitarist John Whyte likes to raunch and roll, very much in the Lifeson mode, while the low-end steamrollers with the best of them, bassist Dan MacDonald fingering with resolute mania. Drums are expertly propulsive and explosive as leader Adam Rabin lays down the ivory tapestry needed to keep it all within symphonicity, piano synths and organ all obediently weaving their magic. Vocals are shared among three (only the drummer abstains), each with their own particular take on the microphone. From the initial jungle blare of "A Different Machine" blasts out from the gates, showing off impressive gusto and the harder edged sound promise that defines their 'progression'. The playing is fast and hard, the sound crisp and pristine. To "the Other Room", a shorter piece that has all kinds of cacophonous caresses, guitar wobbles and rebound techniques that hint at obscurity and dissonance. The metamorphosis into a more conventional tune hits you like a flung rock, Adam grabbing the mike with authority, the bass and drums chugging fiercely, with Whyte doing an axe two-step, using some Andy Summers shifting rhythms to great effect. But the thrilling piano-led "Amber Waves" really shows off the incredible prog tradition of creating an epic, multi-dimensional piece with different yet eventually merging melodies, counterpointed instrumental snippets and a hard rock finale that screams and creams. This is a bruising and extravagant affair that comes as close to a sonic roller coaster, extremely dynamic in structure. A merciless jewel, I tell you! Adam does a highly credible job on vocals, playful and soaring like many 80s singers (Naked Eyes' Peter Byrne, among others), as well as unleashing some nifty synth leads throughout the track. "TFAY" scours out terrain that could be described as 'hard space' with some Hendrixian flair, manic rhythmic pulse and a rather greasy disposition. This is prog-rock at its most energetic, little Geddy in the hysteria-laden lead vocal but the music is like a speeding bullet, Whyte and MacDonald pulling hard on their strings. The Elephants seem to enjoy grazing in the confines of deep space, pulling their considerable weight in providing bold new directions and exemplary instrumental creativity. This sounds like old school Rush orbiting Saturn, for a spell, 'phasers on stun' guitars and warp-speed propulsion. Ornan MacLean really excels on his kit, crisp, tight and massive. This is especially obvious on the bubbly and unsquared "Boxless", a universe of beats that clobber and pound ever forward, the four string wonder following with humility. Nothing overtly complex, just deliriously played and expertly handled. "Endless" is the centerpiece, an extensive 2 part extravaganza that offers up some scintillating horizons for musicianship and inspiration. The spotlight now moves to the players, a platform to show off some considerable chops, Whyte stepping up to the plate magnificently, carving some criss-cross lines that hypnotize and stun. Spluttering synths stop and start sections that defy gravity, a display of on-a-dime execution and blitzkrieg speed. Part 1 is all instrumental and it sizzles! The second chapter is longer, denser and more progressive than anything heard up to now. There is a slight "Suite Madam Blue" feel, like the Styx classic, as the acoustic introduction preps an obvious swelling of emotions, namely a glorious theme that seeps deep into the soul, delicacy in its most ethereal blessing. Softer tones provide a sonic richness, the pace ratcheted up only with utter flair, such as the buzzing Rabin synth solo, a frizzly affair that twirls, swirls and whirls. Very unflappable (Elephant ears) indeed! Adam then does a little piano etude that just brings out the deepest emotion. "Mouse trap" sets this one down for the night. Aggressive, loud and bombastic, this will kick you hard and nasty, Whyte doing his Lee on the mike, MacDonald doing his Lee on bass, Rabin bending notes on his Roland synths while MacLean bashes with the almighty! Square and devastating, these mastodons show no fear in their defiant attitude and soldier on bravely. Needless to say, Rush fans will adore the superb progginess displayed here once gain. Their mammoth sound has evolved to a higher level, crisper and crunchier, as if peanut butter is what elephants really like best! There is also a sheen, a velvet veil of excellence that is hard to describe, a sense of bold confidence that is unmistakable. I still have a very soft spot for the debut which was one of many 2013 revelations that blew my speakers sideways but I am sure this will continue to refine my appreciation, with many more revisits. This is a band to watch further, should not be too hard, the Scots are quite a stubborn lot and elephants can be seen for miles and miles. Nice modern artwork, almost as engaging as the flying boat debut. Review by "tszirmay" (Prog Archives).

RATING:  8 / 10

.

*. 7 Ocean (7 Океан) .*

Album: Возвратись под Солнце / Return Under The Sun (2009)
Genre: Prog Rock (Symphonic/Crossover Prog)  /  Belarus

Songs / Tracks Listing
01. Возвратись под Солнце / Return Under The Sun (18:40)
02. Найдите эхо / Find The Echo (9:20)
03. Девушка с косой / The Girl With a Plait (6:51)
04. Предчувствие / The Presentiment (6:22)
05. Рояль на скале / The Piano On The Rock (11:23)
06. Сон / The Dream (10:45)
07. Страницы / Pages

Line-up / Musicians
Alexander Eletsky / keyboards, voices, sometimes acoustic guitar
Sergey Starosotsky / voices, sometimes bass
Alexander Sophiex / drums
With:
Oleg Grinevich / acoustic and electric guitars
Vladimir Stoljarov / bass

RATING:  7.75 / 10

.

*. Genova & Steffan .*

Album: La Strada, le Stelle e il Vento (1976)
Genre: Prog Rock (Pop/Folk/Symphonic/Rock)  /  Italy

Songs / Tracks Listing
01. Reporter
02. La strada...
03. Sei tu
04. My America
05. Libera
06. Piano... piano...
07. E poi sì
08. Per te, sorellina
09. Dimmi
10. I'll want to know
11. Due attimi di vita

Line-up / Musicians
Gianni Genova / vocals, acoustic & electric guitar
Paolo Steffan / vocals, acoustic & electric guitar, piano, keyboards
Bob Callero / bass
Gianni Dall'Aglio / drums, percussion
Valerio Negrini / symphonic timpani
Giorgio Azzolini / acoustic bass

RATING:  7.5 / 10

.

*. Anette Olzon .*

Album: Shine (2014)
Genre: Prog Rock (Symphonic Rock/Metal/Pop)  /  Sweden

Ex-Nightwish singer Anette Olzon has just released her debut album, and what a cracker it is, mainly in the fact that she has moved as far away from the Nightwish sound as she can, yet holding onto her symphonic rock roots. While Anette’s symphonic roots bubble below the surface on this release, she has moved into what can only be described as the ‘Pop Rock’ or ‘Pop Metal’ genre. I’m leaning more towards Pop Rock, as the use of keyboards override the power of the guitar parts for most of the time, it is as if the guitar is a backing instrument, and the keyboards, strings and percussion take centre stage. The first track ‘Like a show inside my head’ is very strong on this approach to Anette’s song writing, filling the soundscape with lush melodies. “Shine” is the title track, It’s another great song and has a strong uplifting chorus and makes you soon forget about Nightwish. It is very hard to pick out a standout track on here, ‘Floating’ has the sort of playfulness you never saw in Nightwish, and ‘Lies’ is stunning and about as symphonic as it gets on here. One of my favourite tracks on this album is the hauntingly beautiful “Watching me from afar”. It’s a beautifully crafted love song played with on piano and drums. If you didn’t know Anettes history, many people would take this album to heart, however I feel Nightwise fans may feel differently about it, maybe even accusing Anette of selling out. However these people must remember that this is a solo effort, and she has every right to write, compose, and sing the songs in any way she feels fit. Anette had this to say about the release: “I am so thrilled to finally release my first solo album. “I’ve been working on it for a long time by now… The album is very personal with songs I have started writing already in 2009 but also very recent songs. The overall message of the album is that life can be really dark and filled with hardship and sadness, but you can always choose to see some light coming through, to make you stronger and full of life – making you SHINE… no matter what.” To be honest, reviewing this has been a pleasant surprise,  with a bit more experimentation on her next album, she could rival Kate Bush. Review by "David Farrell" (http://planetmosh.com).

RATING:  7.25 / 10

.

*. Ben Craven & The Section .*

Album: Dissected (2014)
Genre: Prog Rock (Classic Rock/Songwriter/Crossover)  /  Australia

Songs / Tracks Listing
01. Diabolique/Nobody Dies Forever
02. Not Me It's You
03. Captain Caper
04. Great Divide
05. No Specific Harm
06. Ready To Lose
07. Golden Band (SAE Version)
08. Nobody Dies Forever (SAE Version)

Line-up / Musicians:
Ben Craven / guitars, keyboards, vocals
Chad Borchard / bass, vocals
Jason Green / drums, vocals

RATING:  ??????????????

.

*. Il Cerchio d'Oro .* (Album + Single)

Album: La Quadratura del Cerchio (2005)(Archives 1974-1975)
Single: Funky Dream / L'amore mio (1978)
Genre: Prog Rock (Symphonic/Psychedelic)  /  Italy

Surprisingly Il Cerchio d'Oro would reform in 2006 and the first signs of their reincarnation would be revealed in 2005, when a second archival album was released in vinyl format on Psych-Out Records under the title ''La quadratura del cerchio''. This compilation contains mostly covers by famous Italian Prog bands along with some demo cuts from the band's early years. Side A is split between covers of Le Orme and original compositions both with the early 3-piece and later 5-piece line up of the band. Executionally the band stands at a good level, but the really poor recording quality of these tapes makes the listening almost unbearable. The original material comes mostly in a Symphonic/Psychedelic Rock style close to HUNKA MUNKA or GLI ALLUMINOGENI with strong organ passages and obscure synth workouts along the deep bass work, that could have sounded really decent if their sound was at least mediocre. The Le Orme covers are rather mediocre and add nothing innovative to the band's repertoire. The B side is exclusively covered by three pieces of The Trip, Le Orme and New Trolls respectively, delivered by Il Cerchio d'Oro at the time when they were still a trio. With mainly instrumental work on the forefront, the band shows respect to the original executions, but the uneven mix and poor sound prevent the listener from enjoying this material as well. From the three, propably The Trip's ''Little Jane'' seems the best with its early-70's charming Psychedelic Rock style. This is certainly the least interesting recording related to Il Cerchio d'Oro. Bad-sounding and rather uninspirational work, due to the poor quality of the tapes and the limited original material. Avoid it and spend your money in a more recommended work by the band. Review by "apps79" (Prog Archives).

RATING:  6.75 / 10

.

*. Butch .*

Album: The Bitch Of Rock and Roll (1977)
Genre: Hard Rock (Heavy/Psych.)  /  USA

Too often, the hype accompanying an elusive slab of homegrown 70's hard rock like this always manages to fall short of the reality. In this case, however, Butch deliver the goods in spades. The primitive production coupled with energetic performances makes this relic worth every penny. This thing is as rare as they come, so if you should come across a copy you can afford, JUMP ON IT. You'll dig it. I promise. Review by "universaltongue" (Rate Your Music).

Songs / Tracks Listing
01. You're Gonna Die
02. Love Me Too
03. I'm Your Slave
04. Girl From The City
05. You've Never Had It Like This Before
06. Fire King
07. Can't Get Enough
08. Movin' On Down The Line

Line-up / Musicians
Joe Goodman / lead guitar, vocals
Mike Surprenant / rhythm guitar, vocals
Angelo Alati / bass
Steve Taylor / drums

RATING:  7.75 / 10

.

*. 7 Ocean (7 Океан) .*

Album: Одна жизнь / One Life (2010)
Genre: Prog Rock (Symphonic/Crossover Prog)  /  Belarus

Songs / Tracks Listing
01. Пролог / Prologue
02. Белый камень, часть 1 / The White Stone, Part 1
03. 1917
04. Странные глаза / Strange Eyes
05. Что было? Что будет? / What Was? What Will Be?
06. Белый камень, часть 2 / The White Stone, Part 2
07. Но облака плывут под солнцем / But Clouds Float Under the Sun
08. Старое вино / The Old Wine
09. Алкоголь / Alcohol
10. СПИД / AIDS
11. Эпизод (Страшный сон) / Episode (A Terrible Dream)
12. Никто не знает / Nobody Knows
13. Эпилог / Epilogue

Line-up / Musicians
Alexander Eletsky / keyboards, voices
Sergey Starosotsky / voices
Alexander Sophiex / drums
Oleg Grinevich / acoustic and electric guitars, bass, voices
Igor Kozyrev / electric guitar

RATING:  7.5 / 10

.

*. Arti & Mestieri .* (Remaster)

Album: Children's Blues (1985)(Remaster 2004)
Genre: Jazz Rock Fusion (Exp./Prog Rock)  /  Italy

Another interesting re-issued album from the label "Electromantic", as well as the definitive jazz approach of A&M, closer to other music genres, strictly not "progressive". Ok sometimes their stuff reminds me of the jazz-progressive genre regarding a few instrumental bands in Italy (think for example of "Linea C", such a competent ensemble co- founded by Stefano Cerri, unfortunately recently missed forever.); nevertheless their exploration in the direction of a few "diverse" music styles (like that concerning the World Music) is always interesting, in spite of relegating the excellent technical drumming by Furio Chirico to a marginal role (almost as a simple rhythmical accompaniment). For instance the horn section and the sax create a remarkable interplay with the electric guitar and the keyboards too, even though naturally their impact is not as much stunning as that unique regarding the most famous album of A&M, entitled "Tilt".anyway even the present 80's obscured work is worthy and useful too, being in my opinion almost equal to "Giro di Valzer per Domani": however try to re-discover both and be happy!! Review by "lor68" (Prog Archives).

RATING:  7.5 / 10

.

*. Lesser Key .*

Album: Lesser Key (2014)(EP 6 Track's)
Genre: Prog Rock (Crossover/Alternative/Metal)  /  USA

For those of you who haven’t heard, Tool’s founding bassist, Paul D’Amour, has a new band on the loose. On top of this, they were recently signed to the juggernaut Sumerian Records and have a new EP headed for your ears!  In the good ol’ toolish fashion, it was originally slated for last year before being pushed back. But it’s a safe bet this will hit store shelves before Tool’s next album (Which is also slated for this year). Aurally, Lesser Key has a lot in common with Paul D’Amour’s original band but they bring certain elements to call their own. (www.thecirclepit.com)

Songs / Tracks Listing
01. Intercession
02. Pale Horse
03. Parallels
04. Folding Stairs
05. In Passing Through
06. Labile

RATING:  7 / 10

.

*. Locust .*

Album: Alpha Waves (1976)
Genre: Prog Rock (Funk/Soul/Jazz)  /  UK

There are a few bands named Locust. However, this is a very obscure British rock funk band from the mid seventies. Bass player Brent Forbes played in an English band named Zac. Keyboard player Chris Parren played in the same band and had also previously been in Forever Amber who made a very rare LP called "Love Cycle", both musicians also backed the American soul singer Doris Troy who wrote "Just One Look", a hit in the USA and also a hit for the Hollies in the UK. Seemingly Brent became an estate agent and still plays on an amateur basis. Chris Parren has an illustrious history and as well as Forever Amber and Zac was with Hudson Ford, The Black Heart Band, The Chris Farlowe Band, Rock Follies, The Jim Capaldi Band, Midnight Flyer, High Society, The Monks, The Strawbs and with Ray Minhinnett in his band the UK Busters. Drummer/vocalist Phil Spinelli and rhythm guitarist Pete Bonas were originally with the jazz rock fusion band Brand X and quit after recording the 1st unreleased Brand X album around 1975. Genesis drummer Phil Collins replaced Phil Spinelli in Brand X between 1975 and 1976. Pete Bonas played on Jim Capaldi's "The Sweet Smell Of Success" album. Seemingly in 1994 Phil Spinelli was part of a north west comedy troupe in England. John Dillon may possibly have played in a band called The Field Trip around 1994. Ray Allen played sax with Jim Capaldi, Robert Palmer, Maggie Bell and many others. "Alpha Waves" is quite an unusual British soul funk album from a very talented band. There are some great grooves throughout the album, with a flavour of the AWB, the early War, Isaac Hayes and Sly & The Family Stone. The track "Foxy" which was released as a single is a catchy instrumental track, very commercial and a little out of step with the rest of the album, an unusual choice for a single, needless to say it flopped!. "Cosmic Kangaroo Juice" is a good instrumental track and a great example of the quality of the band's playing skills. Jim Capaldi who was a fan and supporter of the band had worked and struck up friendships with many of the band members also wrote the sleeve notes for the album. (www.musicstack.com)

Songs / Tracks Listing
01. Good People
02. Foxy
03. Stranger
04. Tribute To Escoriot
05. Say Your Little Piece
06. Funky Paranoia
07. Alpha Waves
08. Cosmic Kangaroo Juice

Line-up / Musicians
Phil Spinelli / Lead Vocals, Percussion
Peter Bonas / Lead Guitar
Chris Parren / Keyboards
Ray Allen / Sax's, Percussion, Vocals
Brent Forbes / Bass
John Dillon / Drums

RATING:  7.25 / 10

.

*. Epic45 .*

Album: Monument (2014)(EP 6 Track's)
Genre: Prog Rock (Post Rock/Shoegaze/Ambient)  /  UK

Epic45 are back with a new EP! Well I say new, four of these tracks have been released before a couple of years back on Monoscope and the other two are an ISAN remix and a reworking of the title track featuring Disco Inferno’s Ian Crause, but that’s new enough for me. The sounds on here are quite minimal but also richly layered, with the earnest vocals sitting on warm cushions of synth drift and dreamily echoed guitar twinkles. It’s a finely detailed and gently paced EP which recalls latter-era Talk Talk in its silky post-pop cleverness. 'Skeletons' sees a simple vocal line augmented by glitchy echoes of itself that reminds me of the brittle fragility of some Hood stuff, but the backing is much more lazy and languorous than that band’s autumnal precision. ‘Ideas As Opiates’ (a Tears For Fears cover) goes in a different direction entirely with the soundstage dominated by a simple two-chord piano motif, some simple percussion and soothing boy/girl vocal harmonies. It’s a nice little U-turn to tie up the EP and keep us guessing. As for the remixes, ISAN’s mix of ‘Monument’ is full of alien modular synth loops and quavering drones, joined after a while by the familiar vocal line, a basic synth melody and some ghostly synth choirs. It’s quite a departure from the lushly accessible original, colder and somehow distant, but still quite affecting. ‘Monument II’ is a slight reinvention of the original which throws in some harp and loads of reverb, but it’s still recognisably the same song. It opens up quite nicely in the chorus with some tasteful guitar and is that an accordion? Review by "Bot3000" (www.normanrecords.com).

RATING:  7 / 10

.

*. Nota Amara .*

Album: У Черты (2014)
Genre: Prog Metal (Melodic Metal/Prog Rock)  /  Russia

Songs / Tracks Listing
01. Дориан
02. Третье желание
03. У Черты
04. Беатриче
05. Поздно ждать
06. Сирены
07. Фауст
08. Nosce te ipsum
09. Темная Башня
10. La Comedia

Line-up / Musicians
Natalia kononova (Кононова Наталья) / lead vocals
Bryl Alexander (Брыль Александр) / guitars, arrangement, samples

RATING:  7.5 / 10

.

*. Druckfarben .*

Album: Second Sound (2014)
Genre: Prog Rock (Symphonic Prog)  /  Canada

Second Sound features bold new colours in such songs as “An Answer Dreaming”, “In Disbelief” and “Liberated Dream”, and concludes with the 19-minute “Second Sound” suite. “This is a natural progression from our first album,” says guitarist Ed Bernard, “but also introduces musical elements that might be surprising to those who know our music so far.” Bernard leads the group, which was formed in 2008 along with bassist Peter Murray (Surrender Dorothy, Ron Sexsmith), keyboardist William Hare (Crystal Shawanda, Angelica DiCastro, Abraham's Children), drummer Troy Feener (Full Nine, Tom Cochrane) and singer Phil Naro (Talas, Peter Criss, DDrive). In German, Druckfarben means “coloured ink used for printing on textiles or other media.” In the mid-80s, teenaged Ed and Troy had no idea what the word meant when they discovered it stencilled on mysterious black barrels in their rehearsal studio. But many years later it resurfaced as the name of Canada’s great new prog export. (www.druckfarben.ca)

Songs / Tracks Listing
01. An Answer Dreaming (6:59)
02. In Disbelief (3:29)
03. Dandelion (5:06)
04. Liberated Dream (4:25)
05. Long Walk Down (5:02)
06. Surrounds Me (7:22)
07. Another Day (5:21)
08. Second Sound (18:49)

Line-up / Musicians
Phil Naro / voice
Ed Bernard / guitars, voice
Will Hare / keyboards
Peter Murray / bass, voice
Troy Feener / drums

RATING:  8.5 / 10

.

*. The Tannahill Weavers .* (Remaster)

Album: The Tannahill Weavers (1979)(Remaster 1993)
Genre: Prog Folk (Celtic/Scottish Folk)  /  UK

Songs / Tracks Listing
01. The Geese in the Bog / The Jig of Slurs
02. Jock Stewart
03. Tae the Weavers Gin Ye Gang / The Blackberry Bush
04. Farewell to Fiunary / Heather Island
05. Willie Cummings / The Red Speckled Hen / Dalena McKay
06. The Merchant's Son / Dr. Ross's 50th Welcome the Argyllshire Gathering
07. Ned of the Hills / The Yewe wi' the Crooked Horn / The Marquis of Tullibardine
08. The Gypsy Laddie
09. Lady Mary Anne

Line-up / Musicians
Roy Gullane / guitar, vocals
Phil Smillie / flute, tin whistle, bodhrán, vocals
Hudson Swan / bouzouki, vocals, fiddle, glockenspiel, mandolin
Alan MacLeod / Highland bagpipes, tin whistle, mandola, organ, vocal
Mike Ward / fiddle, guitar, vocals

RATING:  7.5 / 10

.

*. Sergey Dudin (Сергей Дудин) .*

Album: Mirage (1995)
Genre: Prog Rock (Symphonic/Art Rock/Exp./Ambient)  /  Russia

Stylistically, "Mirage" is still the only Sergey Dudin album, which is about a real Symphonic Art-Rock (with a few of the elements of Prog-Metal that, though, occur here only from time to time). Overall, this music is definitely of a Classic Progressive school, even though precisely half of the compositions that are featured on the album are instantly accessible. These are Rescue Expedition, Reunion, Friday, Childhood, Energy of Life, and Black Sea (2, 4, 6, 7, 10, & 12). (The 47-secunde Opus One (11), consisting of the only, yet, highly virtuosi and very effective solo of electric guitar, can hardly be regarded differently than as an intro to the following track.) Rescue Expedition and Childhood (2 & 7) are the instrumental ballads featuring simple and beautiful arrangements consisting of varied, yet, always mellow interplay between the fluid solos of electric guitar, those of bass, and passages of synthesizer. Energy of Life and Black Sea (10 & 12) are the mid-tempo Art-Rock pieces that, unlike both of the previously depicted tracks, feature both of the melodic and harsh sorts of the guitar solo, some of which are here not only diverse and virtuosi, but also highly original. The only serious drawback of any of the aforementioned four compositions concerns the monotony of tempo set by a drum machine, which is especially evident in comparison with those tracks that were recorded with a real drummer. Reunion and Friday (4 & 6), while being still accessible rather than complex compositions, quite noticeably differ from any of the four tracks that I've described above, as well as from each other, though. Reunion is about a very tasteful Classic Symphonic Art-Rock that, apart from the parts of electric instruments, features the excellent passages and solos of acoustic guitar. While Friday, which is the only 'official' representative of Prog-Metal on this album, is somewhat of a mirage within "Mirage". There are changes of tempo and tone on both of these pieces, but not as many as I would like to. All six of the remaining tracks are excellent, at least. Musically, both of Alaska (3) and What's Wrong What's Right (13), which is the only song on the album, represent a real Classic Symphonic Art-Rock of a dramatic character. The album's title track (9) is overall of the same story, though it is woven from the textures that are typical for the music of the East. If you listen to the classical guitar piece Nylon Ditty (8), you'll immediately recall Mood For a Day (Yes, "Fragile") by Steve Howe and a few of the other great guitar instrumentals, although Sergey's piece is incomparable at all. Both of the remaining compositions (and both of them were performed without drums) are not only real pearls of progressive music, but also rare pearls that, moreover, are unique by all means. Wonderful interplay between passages of acoustic guitar and those of a string ensemble that flow to the accompaniment of gentle jingle of little bells on Introduction (1) are full of a light sorrow, which is very, very 'Russian'. The amazingly fast and virtuosi passages of acoustic guitar and diverse interplay between them and mid-tempo solos of semi-acoustic guitar, sounding very much like Sitar, and those of bass, are presented on Middle East (5), which, as well as Introduction, is just filled with magic. Summary. Before reading this review, one might think that the title of this album should refer to the presence of influences of Camel in the music that Mr. Dudin presented here, which however, is completely incorrect. As well as in the case of "Eternal Call", only fluid solos on "Mirage" may sometimes remind of those by Pink Floyd's David Gilmour, while all of the harsh solos of guitar, and there are plenty of them on this album, are highly original. Also, there is a huge difference between both of the said albums, as there are no any direct influences on "Mirage". As always, I regard originality as one of the most important aspects of any musical work of any genre. However, as you've just read above, this album is rich not only in original ideas. So it gets my highest recommendations. Review by "Vitaly Menshikov" (www.progressor.net).

RATING:  7.25 / 10

.

*. Crystal Haze .*

Album: Crystal Haze (1977)
Genre: Prog Rock (Psychedelic/Hard Rock)  /  USA

Crystal Haze are mostly shrouded in mystery, however it is known that the band sprang from the Decatur, Illinois sometime in 1975. Basically comprised of high school friends, Crystal Haze tracked their sole album mostly live in the studio with vocal duties being split between the two guitarists, Greg Bickers and Dave Ellis. After a rather slipshod attempt at mixing, the album was pressed as is in extremely limited numbers. It is rumoured that only 100 copies were ever pressed. Since the rather low-key release of their debut album, very little has ever been heard of Crystal Haze though it is believed the band continued to gig around the area for another year before disolving. Crystal Haze is certainly one of the most elusive mid-70's recordings in existence, fetching insane prices in collector's circles. From a rarity perspective, I can certainly understand the fervor often raised by this album, given how rarely it ever surfaces. What about the music though? Well, let me just say that the fretwork is fantastic. Excellent guitar tones & fiery performances abound here. Overall, the musicianship is pretty solid considering how young the players were at the time. There's some cool dual guitar work here and there as well, which elevates the intensity another notch. Standouts include the opening instrumental, "Flame" as well as two of the mellower tracks, "In the night" and "Goodnight". 2011 Acid Nightmare vinyl reissue limited to 400 copies, includes new exclusive artwork to replace the original edition sleeve that came out with no artwork in a plain white sleeve with a small paper glued with credits and tracklist. This time Acid Nightmare revamps one of the most hard to find records of the U.S. Psychedelic Hard Rock scene of the 70's! (http://crystalhazealbum.tripod.com/)

RATING:  7.5 / 10

.

*. Band of Rain .* (Re-Post)

Album: Arts and Allurements (2007)
Genre: Prog Rock (Crossover/Gothic/Psych.)  /  UK

One of the best things about Facebook is that it is possible to easily get back in touch with people that you haven't spoken to for a while, and this is what happened here. Chris Gill saw a post of mine, and then contacted me directly and we soon worked out that the last BoR album I had heard was 2005's 'Garlands'. So, a short while later two CDs arrived in the post, of which this is the first. Released in 2007, this album saw a shift in the band both musically and in terms of structure, as Chris now made this a proper outfit with only drummer Billy Fleming surviving from the previous album. Chris provided keyboards and guitars, while he also brought in new singer Sharon Leslie (along with guest Jason Illidge on bass, and guitarist Mike Leivers on one song). The more I played this the more I enjoyed it, and also I found that I kept thinking more and more of Incubus Succubus. The reason for that is that there is a real gothic feel to much of this, and Sharon's voice reminds me of Candia, and that is before we even get onto the subject matter ('Vampire', 'Pan' etc). What makes it so very different though is the musical backing, where Chris can be providing a gentle melody in counterpoint yet also allowing himself with another guitar to provide Gilmour-style noodlings over the top. There is a real depth and haunting quality to this album throughout, and when I heard the 'Blessed Be' refrain at the end of 'Drusilla' I found myself thinking just how much these guys would complement Legend in concert. There is a gentle wave of music in the background, broken by the soloing guitar, while Sharon's vocals are very much to the fore and her controlled approach suits the music perfectly. The result is an album that can be dreamy or gothic, but always extremely good. Review by "kev rowland" (Prog Archives).

RATING:  8.25 / 10

.

*. Whiz Kids .*

Album: Whiz Kids (1974)
Genre: Prog Rock (Rock/Pop)  /  USA

Songs / Tracks Listing
01. Tear The Walls Down
02. Six Months
03. Judas
04. Long Time Gone
05. Time To Lose
06. Start All Over Again
07. (Ride My) Chevrolet
08. I'm Leavin'
09. Poison

Line-up / Musicians
Pat McCaffrey / keyboards, horns, bass, vocals, guitar
Ken Michalik / percussion, vocals

RATING:  7 / 10

.

*. Gazpacho .* (Deluxe Edition Bonus)(New Post)

Album: Demon (2014)(Deluxe Edition + 1 Bonus)
Genre: Prog Rock (Art Rock/Crossover Prog)  /  Norway

Demon isn't such an exciting, engaging listen just because of how good it is, but because of how radically different it is from the rest of the band's discography. Equal parts fearless ambition and bizarre experimentation, Demon is a return to the upper echelon for a band who just two years ago barely won out against the looming threat of mediocrity. So, just how much of a departure is Gazpacho's latest album from the band's previous work? If the Italian tarantella that comprises the second half of The Wizard of Altai Mountains, whose first half is part tango, part ballad, doesn't answer that question, then nothing ever will. Death Room opens with some of the most jarring, guttural noises possible before leading into the melancholic plucking of a balalaika. An accordion and a banjo battle for breathing room minutes later. If this isn't sounding weird yet, then either I haven't communicated clearly enough or the band have unwittingly launched themselves into an alternate universe. Gazpacho's new-found adventurous attitude doesn't exist for its own sake, however, as every piece of the puzzle – and the album is a puzzle, make no mistake – comes together for the purpose of conveying a singular message: the roots of evil are deep, and those roots entangle us all. Whereas Night was inspired by the boundaries between dream and reality, Demon takes its cue from cosmic horror, an influence that impresses itself upon the listener throughout the record. It's difficult not to imagine the smoking, oily roots depicted on the album's cover weaving throughout forests, burrowing beneath oceans, and stretching across continents, infecting and corrupting everything they touch as the eighteen minute opus Death Room twists and turns through its murky depths. Elsewhere, Jan-Henrik Ohme laments “there's no misty mountain / there's no eternal cord / no Eldorado / there is no reward” alongside a solitary violin in I've Been Walking, Pt 2. The band's ability to perfectly capture utter ruin and desolation throughout the record is one of Demon's greatest assets, an accomplishment that only veteran practitioners of atmosphere could hope to achieve. Were H.P. Lovecraft and Robert Chambers alive and well, they'd certainly have a contender on their album of the year lists. This isn't to say that the band's new-found love of atypical instrumentation and hair-raising discomfort exists entirely without the sophisticated, progressive structures and breathtaking beauty that the band utilized so well in the past. I've Been Walking's second half, for instance, is a masterclass in gorgeous composition. Comprised of lush string arrangements and vibrant piano chords waltzing beneath Ohme's flowing vocal delivery, the track moves through numerous stylistic shifts before transitioning into the mammoth closer, Death Room, which makes a convincing early run for the year's most “progressive” song. As mentioned previously, Demon is a sprawling, complex puzzle, but contrary to Ohme's lyrics, there's bountiful reward in struggling to fit the quirky songwriting choices together within the context of the band's existing sonic framework. Before the release of Night, Gazpacho said that they'd begun a new musical endeavor: an attempt to create a series of films without pictures. With Demon, Gazpacho can chalk up yet another win on their board of concept albums, having created their very own horror movie. It's a frightening journey through the ramblings of a madman’s diary, following the cause of every plague and every bomb that scoured and scorched the earth. Demon is equal parts Cthulu and Carcosa – a compelling tapestry of existential dread and unsettling abstraction threaded together by the band's exceptional song-craft. Listen with the lights out. Review by "Alex Kugaczewski" (www.sputnikmusic.com).

RATING:  8.5 / 10

.

*. Vincent Leboeuf Gadreau’s Isos .*

Album: Loving On Standby (2014)
Genre: Prog Rock (Crossover/Alternative)  /  Canada

ISOS is Vincent Leboeuf Gadreau's solo project (Prog Rock band Inner Odyssey's guitars et back vocals). In this project, Vincent plays all electric and acoustic guitars, bass guitars, lead and back vocals, keyboards and keys sampling. ISOS mixes the rich "porcupine Tree-like" acoustic sounds and slow high feeling "Pink Floydish" guitar solos with dark ambient keys and odd time signatures drum-bass grooves. ISOS' music is influenced by many bands and artists such as Riverside, Porcupine Tree, Pink Floyd, Opeth, Mariusz Duda, Steven Wilson, Mikael Akerfeldt, Lunatic Soul... (www.facebook.com)

Songs / Tracks Listing
01. Loving On Standby (Part 1): I’ll Be Waiting
02. Loving On Standby (Part 2): Gone Too Far
03. A Flicker Of Hope
04. Number Two
05. Inside Your Collapsed World
06. Leave My Mind
07. Relapse
08. The Last Words

RATING:  ???????????????

.

*. Golgatha .*

Album: Beat-Oratorium (1974)
Genre: Psychedelic Rock (Krautrock/Pop/Evangelical)  /  Germany

Songs / Tracks Listing
01. Introduktion; Rezitativ; Seht meinen Herrn
02. Rezitativ; Oh ja, ich weiß; Rezitativ; Seht, welch ein Mensch
03. Rezitativ; Hilf dir Selbst, steig vom Kreuz; Rezitativ; Herr wie groß ist deine Liebe
04. Rezitativ; Habe Dank
05. Rezitativ; Leg' doch deine Hände
06. Rezitativ; Für mich, ja grad' für mich; Rezitativ; Halleluja, Jesus lebt

Line-up / Musicians
Tom "Jock" Wohlert / bass, guitar
Elmar "Jerry" Kast / saxophones, clarinet, flute
Eric "Jay" Thöner / piano, organ, flute, horn, vocals
Joe Thaler / lead guitar
Klaus Dieter "Jiggs" Blahak / drums
Markus Schaub

RATING:  7 / 10

.

*. Sophistree .*

Album: Seed (1998)
Genre: Prog Rock (Crossover/Eclectic/Neo Prog)  /  Germany

Now I'm talking about a true lost gem in progressive rock realm, belive me one of the better examples of solid song writteing, inventive arrangements and a kick ass voice all those elements are Sophistree. Formed around early '90's in Hamburg - Germany, Sophistree released so far a single album named Seed in 1999, who turns to be their swansong. Sad because they realse only a single album, because this band made a promissing debute and had huge potential in progressive rock world. The band is similar to my ears with for ex Saga, Everon or even Galleon in places. All those 3 bands combined are Sophistree but with a lot of original ideas and excellent songwritting. The voice of Frank Wollenburg is the cherry on the cake, he has almost same tone and range with Sadler from Saga but aswell some moments when he is like Oliver Philipps from Everon , we can find him later on in a band called Beyond the blue who release The ray of spring few years ago. So, about the music, who is very well written, very strong arrangements, quite unique in their own way, with super guitar works and splendid keyboards. The music is eclectic meets neo here and there and some crossover moments with nice passages, elaborated and long pieces, with fantastic vocal parts, just check out: The Snail's Shell , The Seed Of My Smile and aswell The Seven Seas , 3 of the best tracks I ever heared, impressive songwritting and above all beautiful and warm vocal passages, excellent music. One of the most amazing albums of the '90's in progressive rock scene , yet not really discovered or rediscovered by wider public, quite unnoticed and unfairly underrated band with solid as rock compositions. I will give easy 4 stars, almost close to a masterpiece in my opinion, but not quite there, anyway an essential album in anyone's collection, belive me. Review by "b_olariu" (Prog Archives).

RATING:  8.25 / 10

.

*. Crystal Palace .* (Re-Post)

Album: Demon in You (2001)
Genre: Prog Rock (Crossover/Neo Prog)  /  Germany

Songs / Tracks Listing
01. Bleeding Sun (5:17)
02. Cloudy Day (4:33)
03. Demon in You (4:32)
04. Standing in the Shadow (5:05)
05. Restless Stranger (4:04)
06. Hunting You (5:42)
07. Alone on the Top of the Mountain (4:06)
08. Aurora Borealis (9:01)
09. Where Am I (4:11)

Line-up / Musicians
Jürgen Hegner / guitars
Ralf Jaschob / guitars
Jens Uwe Strutz / bass, vocals
Sven Brehm / drums
Frank Köhler / keyboards

RATING:  7.5 / 10

.

*. The Third Ending .*

Album: Three Word Title (2014)
Genre: Prog Rock (Crossover/Alternative/Metal)  /  Australia

Songs / Tracks Listing
01. Sunsets And Silhouettes
02. Line By Line
03. Frame By Frame
04. Really Serious Music
05. Belong To Me
06. Do Not Resuscitate
07. If I Could
08. Lost In Transit
09. In My Head
10. Bullet In Winter

Line-up / Musicians
Andrew Curtis / Guitars & Backing Vocals
Andrew Knott / Drums, Percussion & Backing Vocals
Cornel Ianculovici / Bass Guitar & Backing Vocals
Nick Storr / Lead Vocal, Guitars & Keyboards

RATING:  ???????????????

.

*. 4th Dimension .*

Album: Dispelling the Veil of Illusions (2014)
Genre: Prog Metal (Melodic/Symphonic Metal)  /  Italy

Not coming as a particular surprise, but here's another symphonic power metal band from Italy, Asiago specifically, 4th Dimension. Is that where they make the cheese of the same name? I love that stuff. Wait, I'm getting off point here. Here's their latest, and second album, Dispelling the Veil of Illusions. While it's fair to call 4th Dimension's power metal symphonic, it's certainly not on the level of peers like Rhapsody of Fire. Rather than being bombastic, it's more nuanced sometimes with a genuine classical music feel. You get this within Memoirs of the Abyss, which also has a light folk element in the guitar work. It's one of the best songs here. Other songs capture more traditional melodic power metal, investing the song with galloping speed along side the symphonic notes, like A Circle in the Ice or Kingdom of Thyne Illusions; listen below. But the keyboards of Talete Fusaro aren't merely there to create an orchestral atmosphere. Rather, they're often on point for flair, flourish, and leads, perhaps even more so than the guitar. You get that in most every song, significant in the aforementioned Kingdom of Thyne Illusions, but also in tag team with the guitar in Quantum Leap. It makes sense, really, as Fusaro is one the principal founders of the band along with vocalist Andrea Bicego. And Bicego has an interesting voice, something akin to Geddy Lee, but on a lower register. Finally, and quite interesting, the songs of Dispelling the Veil of Illusions are relatively short, by comparison to other bands and albums. There's not a single one over five minutes, with the average being slightly over four minutes. But 4th Dimension packs a lot into those four minutes, making some songs seem longer, in a good way, then they really are, like Memoirs of the Abyss or White Logic. Give them credit for being creative and efficient, rather than bloated and pompous in their compositions. Overall, Dispelling the Veil of Illusions is solid and entertaining melodic and symphonic power metal. And if you like your power metal with a significant, yet well-crafted, keyboard presence, it's definitely up your alley. Review by "Craig Hartranft" (www.dangerdog.com).

RATING:  8.25 / 10

.

*. Il Segno Del Comando .*

Album: Il Volto Verde (2013)
Genre: Prog Rock (Symphonic/Art Rock/Dark/Gothic)  /  Italy

Il Volto Verde (The Green Face), the 2013 release from Il Segno del Comando, again proves that this intelligent Italian band take their time between releases, carefully researching, composing and performing darker styled Italian progressive music, with the results more than worth the wait. An adaption of another book written by Gustav Meyrink in 1916, `The Green Face', like the other works the band has adapted, is full of cryptic mysticism and dark spiritual elements, making it the perfect source for main composer Diego Banchero and this new line-up to interpret. The two previous releases had quite a different sound to each-other, the debut mixed gloomy atmospheres with classic Italian prog, the follow-up `Der Golem' focused on more a modern mix of Gothic rock. However, this latest one, arriving 11 years after the previous work, mixes in everything from dirty funk grooves, 80's electro-pop, classical grandiosity and avant garde experimentation into their usual sombre take on creeping and suspenseful gothic Italian prog. One thing that particularly separates this work from the previous releases is the prominent role of a female vocalist for the first time. Maethelyiah is a revelation, effortlessly conveying haunted, sorrowful and imposing femininity, yet also frequently bringing an edgy eroticism and sensuality. Her participation with the Comando project now places the band alongside other unsettling Italian bands with female participants such as Lydia e gli Hellua Xenium, Jacula/Antonius Rex and the Universal Totem Orchestra, with traces of their sound filtered through this work as well. The opening instrumental introduction is all twinkling, crystalline imperial synth orchestration before the listener is blasted with the wickedly sexy `La Bottegga delle Meraviglie', full of snarling (and surprising!) funky wah-wah guitar and punchy bass that slinks it's way throughout the background of the piece like a serpent. Maethelyiah's intimidating presence arrives immediately, and Diego's bandmate, Vinz Aquarian, from their band Il Ballo delle Castagne, provides some tasty Moog soloing, truly making it the soundtrack to some secret gothic club. Fernando Cherchi's whiplash snapping drumming dominates `Chidher il Verde', Maethelyiah bellowing like a banshee unleashed, an infernal priestess leading haunting female choirs over wavering ghostly synths. `Trenodia delle Dolci Parole' is a sombre acoustic ballad with a tense symphonic instrumental break in the middle. The piece is sung with perfect sorrow and dread by Sophya Baccini, and it's surely one of the most exquisite pieces ever to appear on a Comando album. Listen for Deigo's unbelievably fluid rapid-fire fretless bass soloing throughout `Il Rituale', a shimmering electro experiment full of disorientating effects and skittering percussion behind his playing. Then we reach another absolute album highlight, `La Congrega dello Zee Dyk', where it's quirky 80's programmed melody could almost be mistaken for a Goblin outtake! However, this complex piece is much more intense, an overwhelming and senses-shattering hypnotic drone, with solemn male choir vocals increasingly wearing the listener down, guest David Krieg's almost hostile, sinister croon purring and croaking recited passages that weigh heavily on your sanity. Some church organ, a little Rick Wakeman-like classical pomp and mangled electric guitar soloing feature to nice effect too. Resistance is useless to this trance-inducing piece. The monolithic `Il Manusscritto' is full of pounding slab-like intimidation contrasted with dizzying up-tempo energy constantly blasted by Maethelyiah's shrieking multi-tracked choir harmonies, and a constant back-and-forth dirty grooving strut with some lusty electric guitar throughout. The Hammond-cooked almost psychedelic instrumental `L'Evocazione di Eva' is full of stirring sax and flute soloing from Delirium's Martin Grice and blowout Moog/Mellotron/organ work from Claudio Simoenetti.`Retrospettiva...' is a more emotional and reflective piece that perfectly compliments earlier track `Trenodia?', with Maethelyiah's longing voice just as heart-breaking and torn as Sophya's. There's some scorching electric guitar winding around the entire piece and some supremely dank fretless bass lurking in the background too. `Usibepu' opens with an almost groaning Magma-like tone, especially due to Diego's hypnotic repetitive bass, before becoming a feral stomp with metallic King Crimson aggression and hissing serpentine vocals over slinky electronic lusty grooves. The electric guitar solo from psych/space-rocker Giorgio Cesare Neri over the finale recalls Antonio Bartoccetti's playing over electronic atmospheres from the comeback Antonius Rex works! A very sexy track indeed. He also plays on the delirious `L'Apocallise', the closest the band come to a metal sound here, with a thrashing up-tempo energy of ballistic keyboard freakouts and manic wailing vocals from Giani Leone of RPI legends Il Balletto di Bronzo. `Epilogo' is a doomy nightmare synth soundscape with a breathless, suffocating narration from David Krieg that closes this book in a very unnerving manner. With evocative cover artwork that unnervingly captures the work it's based on, `Il Volto Verde' provides a daunting musical interpretation of various passages and characters found in the old novel, with a maddening sense of claustrophobia and poisonous insanity clawing it's way through the compositions. Often more accessible than their previous albums, but still as frequently diverse and experimental, it's a dense work that proves exceptionally rewarding with repeated plays. In no way a standard gothic metal clichéd work, Diego and his bandmates are more challenging and truly progressive than that. They constantly display great respect to the original innovators of the Italian progressive scene of the 70's while remaining modern, contemporary and relevant. Diego recently commented that a stable line-up of this current version of the band is in place, so perhaps we won't have to wait as long for our next eerie journey from Il Segno del Comando. But for now, along with Sophya Baccini's Arcadia's `Big Red Dragon', Antonius Rex's `Hystero Demonopathy` and Three Monks' `The Legend of the Holy Circle', the dark corner of Italian progressive music has never been more vibrant and focused. 

Review by "Aussie-Byrd-Brother" (Prog Archives).

RATING:  8.5 / 10

.