*. Russian Wives .*

Album: Thinking There's A View (2013)
Genre: Prog Rock (Crossover/Alternative Rock)  /  USA

Songs / Tracks Listing
01. Black Dog
02. Further from Me
03. Once
04. All My Leaves
05. Change the Past
06. Thinking There's a View
07. Partners in Crime

Line-up / Musicians
Joe Gregory
Aeron Bailey

RATING:  7.25 / 10

.

*. Almara .*

Album: Outros Amores (2009)
Genre: Soft Prog Folk (Sephardic Music/Acoustic/Medieval Folk)  /  Germany

The first time I heard this album my heart literally sank to the floor! I am probably the biggest fan of Faun in the world, and I had already listened to every song Lisa had been in for all those years, since she was a wee lass until she left the band. I ordered her album from Germany, and when it finally arrived and I started to play it, I have to admit that it not only exponentially exceeded my expectations, but it was nothing like I expected. It was as if Lisa reached a whole new level. I already knew that she had a beautiful voice, and was already convinced that it was the most beautiful voice I've ever heard (I think that Tinta is the best example from her Faun years of what she was capable of). But once I opened the 'Outros Amores' album and started playing it my jaw dropped. As I said, I consider myself the biggest fan of Faun ever, but I can now see why she left (and the band hasn't been and never will be the same without her). Now that Lisa is free to do what she wants, she has delivered with an album that surpassed all of my expectations. I thought that her first album after leaving Faun and doing her own thing would be good, but this is just exceptional, fantastic, and (simply) subliminal. I can listen to it hundreds of times and still not lose this intense feeling of connection to the music that Lisa brings. I just absolutely love the songs: Rosa Das Rosas, Je Vivroie Liement, Qué Puede Ser, and El Rey De Francia. I find it very impressive that this dazzling and marvelous German girl can deliver such wonderful medieval music in FRENCH and SPANISH! I'm from America, and I know a decent amount of Latin and German, but she has already outdone me in language skills. My final advice to anyone who reads this review is to buy this album immediately. If I were banished to the desert for the rest of my life, but could choose only one album to bring with me, this would be my choice. I can't wait to hear what the wonderful Elisabeth Pawelke comes up with next, for I know that it is bound to be FANTASTIC! 
Review by "Ex absurdo contradictorio" (www.amazon.com).

RATING:  7.75 / 10

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*. Cult Of Dom Keller .*

Album: The Second Bardo (2014)

Genre: Psychedelic Space Rock (Jam Band/Exp.)  /  UK

Songs / Tracks Listing
01. Plague Of All
02. The Snake Keeps Changing
03. Dead Sea
04. Into The Sky Volcano
05. Beyond Burning Skies
06. Heavy & Dead (Demo Version)
07. Godshaker
08. Ghost Bones
09. The Second Bardo
10. Killed In My Sleep

Line-up / Musicians
Ryan DelGaudio / vocals, guitar
Neil Marsden / vocals, keyboards
Jimmy Vincent / bass
Dave "Caveman" Biggs / drums

RATING:  ?????????????

.

*. Lethe .*

Album: When Dreams Become Nightmares (2014)
Genre: Experimental Rock (Metal/Trip-Hop/Electronic/Pop)  /  Norway/Switzerland

Lethe is an experimental collaboration between Tor-Helge Skei (Manes) and Anna Murphy (Eluveitie/solo), so it goes without saying there were a lot of expectations riding on this album due to the sheer talent that the duo have between them, but it delivers of course. When Dreams Become Nightmares is Lethe’s debut full-length album and it certainly sets the standard high for any future releases they may make. It works best if you listen to the album as one single entity rather than listening to specific tracks because everything follows on so well from one another that it would be criminal to skip a track. There’s a bit of everything in there, from the softer elements of opener In Motion, to the heavier sections in songs such as the phenomenal Haunted and there’s even tracks that are largely electronic as evidenced in Transparent. It can be said that such a mixing of genres can make it difficult to fully connect with an album but in Lethe’s case it works really well because it’s like you never know what to expect next! Indeed, the aforementioned Transparent is a track that does have that extra sparkle. Largely instrumental, it’s wildly catchy and my foot subconsciously began to tap along to the beat before I noticed it! The whispered section atop of guitars in the middle is a particularly strong point because it divides the track up perfectly – without it, the song could well have wound up being rather repetitive. When Dreams Become Nightmares is a work of art. It gives so much within its ten tracks and it’s a wonderfully engaging listen. Definitely worth watching out for! Review by "Natalie Humphries" (www.soundscapemagazine.com).

RATING:  8 / 10   **GREAT**

.

*. Matrix .*

Album: Tale of the Whale (1979)
Genre: Jazz Rock Fusion (Prog Rock)  /  USA

3rd album by the excellent instrumental US Jazz-Rock Fusion nonet Matrix, which continued the tradition of early 1970s brass influenced Fusion bands like Blood, Sweat & Tears, Chicago, Dreams and Chase. Led by keyboardist John Harmon, who wrote and arranged most of the band's material, the band also included trumpeters Larry Darling, Kurt Dietrich, Mike Hale and Jeff Pietragelo, saxophonist John Kirchberger, trombonist Brad McDougall, superb bassist Randy Tico and drummer Mike Murphy. They played very interesting composition, elegantly arranged for the brass section, which was supported by a brilliant rhythm section. The band never received the appropriate exposure at the time, and therefore their recordings true hidden gems of the genre. This reissue brings them back to life, which is a great opportunity to get familiar with their output, as it is definitely some of the 1970s Fusion ever made. Most warmly recommended! Review by "Jazzis" (Rate Your Music).

RATING:  8 / 10

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*. Autumn Burning .*

Album: Autumn Burning (2014)
Genre: Hard Rock (Modern Rock/Metal/Prog Rock)  /  USA

Autumn Burning's full-length debut burns bright with a focused, energetic approach to mass-appealing rock that never glitches. The ten-track record rides steady on a mainstream rock course, but makes enough stops to bring aboard some progressive, southern and metal influences. With Joe Viers (Sonic Lounge Studios) behind the wheel, the album's production is superior with layer balancing that brings equal attention to immense guitar solos, smooth rhythm, grooving bass riffs, precise drumming and a deep driving vocal range. The subtle, yet memorable lyrics sung with emotional connectivity revolve around the pain of betrayal and the hunger to persevere. Minor acoustic roles in "Drive," "Nowhere Left To Fall" and "Call Me Home" initially seem intrusive, but as the songs play out, the acoustic roles make sense and are ultimately more than welcome. Some rock albums fall into the trap of being uninteresting, mundane and repetitive, but Autumn Burning's self-titled LP never goes in that direction--from aggressive opening track "The Chase" to the stripped down acoustic final track "Yesterday's Gone," listeners will be engaged. With such a dynamic rock record debut, including an eye catching album design, the five-member northeast Ohio band from Millersburg, Ohio is making an indelible start to 2014. Review by "Neil Shumate" (www.ootb646.com).

RATING:  ?????????????

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*. Zombie Frogs .*

Album: Awaken (2014)
Genre: Prog Metal (Prog/Hard Rock/Exp.)  /  USA

Formed in the Fall of 2012, Zombie Frogs is an Instrumental Progressive Metal Band based out of the Berklee College of Music in Boston, MA. The group is heavily influenced by prog giants such as Dream Theater, Porcupine Tree, and Scale The Summit, but at the same time possesses its own unique sound and style. Their music fuses progressive roots with melodic technicality and poly-metric insanity. (https://zombiefrogs.bandcamp.com)

Songs / Tracks Listing
01. Leviathan
02. Potentially Broken Orange
03. Ionized
04. Kamikaze Babushka
05. Mad Ratter
06. Awaken
07. Awake But Not Alive
08. Void

RATING:  7.75 / 10

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*. Alain Suzan .*

Album: Un peu de passé dans l'avenir (1976)
Genre: Prog Rock (Rock/Pop)  /  France

Songs / Tracks Listing
01. Thème de “Un peu de passé dans l’avenir”
02. Come on
03. Où me mène le vent
04. Quand mon coeur s’y promène
05. Jolie Peggy
06. Alright
07. Un peu de passé dans l’avenir
08. Le fils du mage blanc
09. Les paradis du mal
10. Reviens vers moi
11. Est-ce pour moi, est-ce pour lui ?
12. La fin d’un rêve

Line-up / Musicians
Alain Suzan / guitar, bass, keyboards, vocals, percussions
Alain “Doudou” Weiss / drums (2, 6, 7, 9, 11, 12)
Richard Celle / drums (3, 4, 5, 8)
Georges Rodi / synthesizers, keyboards
Slim Batteux / synthesizers, keyboards, steel guitar, percussions
William Sheller / synthesizers, keyboards
François Debricon / flute
Bernard Labacci / percussion, backing vocals
Paul Scemama / percussion, backing vocals
Patrick Gandolfi / percussion
Alain Labacci / backing vocals
Luc Bertin / backing vocals

RATING:  6.75 / 10

.

*. Superdrama .*

Album: The Promise (2014)
Genre: Prog Rock (Crossover/Symphonic Prog)  /  Germany

Superdrama stands in the tradition of seventies band such as Yes, Genesis and King Crimson. Superdrama opens up the vast inner stage in which both the human and the comical can be found. From ascent to fall, going round in circles, once tenderly, then more powerfully, the compositions move our souls. Intensity and profoundness, but also humour and lightness determine the atmospheres that the music guides you through. Complex rhythms and pending harmonies invite you to take off; stories will be experienced, tensions relieved and dissolved in (super-) dramatic climaxes. (www.superdrama.de)

Songs / Tracks Listing
01. Chance of a Lifetime
02. Evening the Odds
03. Turn the Stone
04. In Love for a Day
05. Beyond the Edge
06. Healing Earth
07. The Promise

Line-up / Musicians
Robert Gozon (Argos) / Vocals, Keyboards
Thomas Klarmann (Argos, Yacobs) / Bass, Flute
Michael Hahn / Guitars
Thilo Brauß / Organ & Additional Keyboards
Robert Stein-Holzheim (Ex-Scaramouche) / Drums

RATING:  8.5 / 10

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*. Sonar .*

Album: Static Motion (2014)
Genre: Post Rock (Groove/Minimalism/Exp./Jazz)  /  Switzerland

It seems like only a few weeks ago I was reviewing Sonar’s previous album A Flaw of Nature, and much of that same feeling is coming back to me now as I review this one, underscoring the Swiss based ensemble’s unique style based on self-imposed limitations, restrictions and intentful pursuit of minimalism. First and foremost are the tritones that both guitarists and bass have tuned their strings to: only C or F# are allowed within Sonar’s world. Second, this is not really rock, not jazz either; in reality it’s deft ensemble work based on crafty instrumental interplay, with little room for any flashy soloing. The two guitarists (Bernhard Wagner and Stephan Thelen, the latter also composer and bandleader) are continually playing off one another’s complex mathematical musings as they move forward, growing the sound from sparse interactions on open-string harmonics to more powerful full-on electrified passages, and back again. The compositions are very natural and open, and almost seem like well-rehearsed improvisations where some strict parameters are set, and then the four players follow through on it. But the responsive way that the bass and drums flow and ebb the depth of the sound and manage the fragmentary minimalist approach throughout most of this belies any notions of pure improvisation. Occasionally, as on the closer “Vertical Time,” there are some lengthy passages of dark ambiance that add to the overall mysteriousness. Occasionally, one might be reminded of magical moments on the many great albums by Philharmonie. One thing that needs to be said, however: this is a long album, clocking in at just under 70 minutes, and given the ensemble’s confinements, the nine pieces do get samey after a while. While listening, I occasionally wonder what an additional lead instrument, like a sax or violin, could contribute to their sound. The skeletal minimalism which is one of the beauties of Sonar’s craft would of course be lost, but the occasional interception of a melodic lead instrument might add something worthwhile to the mix of ideas. All taken though, this is another excellent adventure from the first note to the last.  Review by "Peter Thelen" (http://expose.org).

RATING:  ?????????????

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*. Krobak .*

Album: Little Victories (2013)
Genre: Prog Rock (Post Rock/Math Rock/Exp.)  /  Ukraine

The very first time I played this I just wasn't sure what to think. The melodies are sometimes fairly simplistic and often repeated, and there is a great deal of space between the instruments; but as is often the case, one doesn't get the most out of an album just by playing it once. The more time I spent with this, the greater the rewards. The bass and drums keep everything together, although there are times when one or the other is absent depending on what is required, leaving just the violin and guitar as the leads. Sometimes they duet, sometimes they contrast, but themes are brought in and played with and it is the 'simplicity' and repeating of motifs that actually makes this album what it is. This is truly an album that creates its' own space and dimension, a world where nothing else matters. The only way to truly get the most from this is by playing it on headphones and being removed from everything else that is going on, as this is music that definitely rewards those who are willing to invest the time in getting to know it better. If I had reviewed this after only playing it a few times I would have been scratching my head trying to work out how I could break it to Igor that I really wasn't a fan. But, having listened to it a great deal I am happy that I am able to go to him and say that he has created something that is quite different to most prog albums I listen to, namely that they have created something that is all about emotional connection with the music with a low note density. I have surprised myself with just how much I have enjoyed playing this, and the digipak artwork from Mals also shows that this is something a little out of the ordinary. Review by "kev rowland" (Prog Archives).

RATING:  ?????????????

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*. The Illustrated Band .*

Album: The Forever of Now (2005)
Genre: Prog Rock (Heavy/Neo/Crossover/Pop)  /  USA

Lush atmosheres, infectious melodies, complex arrangments and driving anthems. The Illustrated Band combines spacey dreamscapes, progressive rock and pop, to create a unique yet highly palatable sound. Thought provoking lyrics and creativity over formula makes The Illustrated Band a true experience for the music lover. The bands' founders (Michael Blake-guitarist, singer/songwriter, and drummer-Paul Roraback) began writing songs together in their hometown of Seattle where they recorded the bands' first album under the name Gideon's Press, before relocating to Austin where the band was completed by bassist David Kline and keyboardist Nic Whitworth. Their new album, "The Forever of Now" is a diverse collection of songs, ranging from the soaring pop melodies of "Mother's Arms", to the highly complex epic, "Whirling Dervish", making it a "must hear" album in 2005. (www.cdbaby.com)

Songs / Tracks Listing
01. The Forever of Now
02. Mother's Arms
03. All of These Secrets
04. Anima Mundi
05. Paragon
06. Return to Cair Paravel
07. On My Knees
08. Anna
09. Where the River Bends
10. Whirling Dervish

RATING:  8.25 / 10

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*. Laurence Vanay .* (Remaster 2013 + Bonus)

Album: Evening Colours (1976)(Remaster 2013 + 10 Bonus)
Genre: Prog Rock (Prog Folk)  /  France

After the stunning "Galaxies", Ms. Thibault comes back with "Evening Colours", which can only be categorized as a triumph of will. The same beauty she brought forth on her debut, is also present here, perhaps with a bit more instrumental oomph. However, there are no song based tracks with lyrics (though plenty of wordless voices). Despite finding its way onto the Italian CAM label, "Evening Colours" is no film library album. These are fully realized compositions with wonderful analog keyboards, fuzz guitar, bass, and drums. As we learn via the excellent Lion CD (2013), Jacqueline originally was presented as the artist "Gateway", so as to not reduce sales, since the norm of the day was that only male artists were to be treated with respect in the marketplace. This album, intended to be issued on the Galloway label, ended up as a very small press and is extremely rare nowadays. The more common aforementioned CAM issue happened via a friend and ensured everyone was compensated for their efforts. Hearing this album once again reaffirms my position that females are far too unrepresented in progressive rock circles. Their inherent knack for melody and subtlety is much needed in this most testosterone fueled genre, where technical show-off chops are often placed in favor of composition and form. Unfortunately even today, females continue to be stage singers, directed behind the curtain by those looking to profit from their talent. Hear the defiant and fiercely independent Jacqueline Thibault - compare - and judge for yourself. Brilliant and beautiful. 
Review by "ashratom" (Rate Your Music).

RATING:  8.5 / 10

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*. Higher Circles .*

Album: Ritual One (2002)
Genre: Prog Rock (Heavy/Crossover/Neo Prog)  /  USA

Prologue. The California's band Higher Circles was formed in 1983. Their debut EP "The Payment" was released in 1990. "Ritual One" is the first full-length album by the band. So, let's see what music dwells in Higher Circles.
The Album. Except for three short pieces, namely Premonition, Beyond, and Patch (tracks 1, 12, & 9 respectively), I can say that on the whole, "Ritual One" is an album of a unified stylistic concept. In that way, I have to describe the exceptive tracks first. Both the opening and closing tracks of the album contain only the slow passages of a few synthesizers, accompanied by various effects. Nevertheless, these pieces sound original, especially the last of them. As for Patch, it is really kind of a vocal patch on a dress of emptiness. Well, all nine of the remaining tracks were created within the framework of a unified stylistics, which, on the whole, represents nothing else but the heavier and, at the same time, a bit simplified version of the music of Rush. However, there are no without exceptions as well. While the contents of two instrumental compositions, Introvert and A Really Weird Rest (2 & 8) can be examined in a general context, Stigmata and Samurai With a Gun (10 & 11) must be described separately. (In fact, though, they look like a monolithic piece.) All seven of the compositions that are located between the first and the last four tracks of the album are structurally similar among themselves. Stylistically, all of them are heavily influenced by the music of Rush (circa "Permanent Waves"). Also, it seems that Jacob's Ladder is the band's all-time favorite. Some of the arrangements that are featured on Second Thought and Eleven Seconds (5 & 6) are really second-hand, as both of these songs feature the open borrowings from Jacob's Ladder. Owing to the obvious stylistic resemblance between Rush and Higher Circles, it would've been much better if Steve Moore would've been the lead vocalist on this album. Here, Steve sings not that often. However, his rather raw voice sounds very original. Norman Windrose sings for the most part not unlike Geddy Lee. Fortunately, all five of the remaining tracks that are located in the middle of the album contain some of the band's original ideas as well. Which makes the overall musical palette of the core of the album slightly more diverse than that on the second-hand tracks (5 & 6). The guitar riffs that Higher Circles used on this album (in general) are heavier and stronger than those in the music of Rush. On the other hand, the arrangements that I hear on all of those core tracks lack the changes of tone and mood. So they're much more predictable than those on any of Rush's albums that were released in their best years (1976 to 1985). The parts of synth-bass don't impress me at all. A real bass player is what the band definitely needs. Surprisingly enough, the last one fourth of the album turned out to be a real culmination of it. Stigmata and Samurai With a Gun (10 + 11) are not only original (i.e. free of any distinct influences), like the last track of the album, Beyond, but also truly wonderful, complex and intriguing. These are the songs of a true Classic Progressive. (I, however, like to regard them as a single, monolithic and epic, 13-minute composition.) Structurally, they're in the same vein as all of those songs that I've depicted before. In other words, the alternation of heavy (metallic) and soft (symphonic) structures is typical for both of these songs as well. However, the vocals (especially those that were whispered and screamed) and the instrumental arrangements that are featured on them are outstanding by all 'progressive' means.
Summary. Remembering of various unoriginal albums, I can assert that "Ritual One" by Higher Circles is way better than the opuses by hundreds of the Marillion and IQ wannabes. All three of the last tracks on the band's first full-length album clearly show that Higher Circles are capable enough to create an original and high-quality Progressive Rock. In fact, this is a promising band. They only should not forget that the originality is the main trump of any true artist of any genre. Back to this album, it has a solid commercial potential and, in my view, should get a large audience. The true fans of Rush, who, as I assume, just cannot enjoy the latest albums by Rush (beginning with "Presto", 1989, though, perhaps, with the only exception of "Counterparts", 1993), will be especially pleased by "Ritual One". Review by "Vitaly Menshikov" (www.progressor.net).

RATING:  8 / 10

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*. Artaius .*

Album: The Fifth Season (2013)
Genre: Prog Metal (Pagan/Folk Metal)  /  Italy

The Fifth Season is the debut full-length album by Italian folk metal act Artaius. It was released in April 2013. Artaius previously released a demo in 2011 called MMXI, all songs from which have made it to The Fifth Season. Between the two releases Artaius has acquired a new lead vocalist, Sara Cucci and been signed to Moonlight Records. The music on The Fifth Season is most instantly recognisable as folk metal, but dig a little deeper into Artaius’ sound and a band is found that goes one better than simply combining metal and folk instrumentation behind their beauty and the beast vocal approach. The sound is actually very progressive, especially with some of the keyboard work that Giovanni Grandi is doing here. The opening track Make the Iguana is a good example of how Artaius play off their folk and progressive elements. The progressive elements sound quite retro actually, very 70’s prog influenced. This actually gives Artaius quite the unique sound in the folk metal genre, so I’ve found The Fifth Season quite the exciting album to explore. Additionally a couple of the songs also have some aspects of power metal creeping in, especially during Wind of Revenge. The Fifth Season is a competent debut album from Artaius, hopefully foreshadowing even stronger efforts to follow from the band. The one major issue that I have with it is that quite often it does feel that the growling vocals by Andrea La Torre aren’t really needed. Sara Cucci’s voice fits the progressive folk metal approach extremely well, so quite often I find myself wishing she also sang the growled lines. Ironically Make the Iguana is also a good example of what I mean here, since Cucci sings the majority of the song, so the growled lines of ‘Make the Iguana’ only really serve as a distraction. The growls work better when they’re given more time in the song, such as in Horizon, so it’s not a real major issue, but a bit of vocal reworking to the band’s strengths could have elevated the album up a bit for me, as the music is very much at its best when Cucci is singing so a clean vocal dominate track like Over the Edge strikes me as the very best on offer although I do have to also give a special mention to the excellent Prophecy. The Fifth Season shows a lot of promise for Artaius, but there are few bugs that need ironing out before they reach the top of their game. Their writing is solid but not quite as remarkable as the elements that make up their sound. Allowing Sara Cucci full control of the vocals would also do them wonders in my opinion. Still, this is a very enjoyable debut despite a few issues and a great album tier rating is deserved. 
Review by "adg211288" (Rate Your Music).

RATING:  7.5 / 10

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*. Twink And The Technicolour Dream .*

Album: You Reached For The Stars (2013)
Genre: Psychedelic Rock (Underground/Classic Rock)  /  Italy - UK

Having played with Tomorrow, the Pretty Things and the Pink Fairies, Twink should need no introduction to fans of underground rock. Following the ecstatic reception to our release of his legendary 1969 album THINK PINK earlier this year, Sunbeam is delighted to announce the forthcoming release of the mind-expanding YOU REACHED FOR THE STARS, which finds him collaborating with highly-regarded Italian psychedelic outfit the Technicolour Dream. Recorded in Rome and mastered at Abbey Road this summer, it comes complete with eight superb bonus tracks, and is sure to delight all lovers of psychedelic rock. (www.sunbeamrecords.com).

Songs / Tracks Listing
01. Dead End
02. The Dream Is Just Beginning
03. Afterglow
04. Moonchild
05. Inside The Old Ones
06. Lady Love
07. You Reached For The Stars
08. The Dream Is Just Beginning (acoustic )
09. You Reached For The Stars (acoustic)
10. The Snake (live)
11. Heavenly Man (live)
12. 10,000 Words In A Cardboard Box (live)
13. Wargirl (live)
14. Teenage Rebel / Fractured Sky (live)
15. Suicide (live)

RATING:  8 / 10

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*. Eden Shadow .*

Album: Phases (2014)
Genre: Prog Rock (Art Rock/Crossover Prog)  /  UK

Songs / Tracks Listing
01. First Phase
02. Restlessness
03. Hallucinogen
04. Hope You're Happy
05. Imagination (Feat. Nik Turner)
06. The Stars Unfold
07. Elgon
08. True Grace

Line-up / Musicians
Ryan Elliott / guitars, vocals, keys
Alex Broben / bass, keys
Tom Burgess / drums, percussion, vocals

RATING:  ??????????????????

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*. Suncrown .*

Album: Follow Your Dream (2012)
Genre: Prog Metal (Symphonic Metal)  /  Multi-National

When thinking of Symphonic Metal most of us are thinking about big classical or synthesizer fanfares, soaring vocals (more often than not with a soprano at the helm, eh, mic), heavy influences from Power Metal with double-bass and the whole nine yards. Well, enter international project SUNCROWN and throw good parts of this stereotype overboard. Ukrainian keyboardist and mastermind Oleg Biblyi has united musicians from the USA, Argentina, Turkey, Brazil and the Netherlands in order to create a sound that can firmly be described as Symphonic Metal, but at the same time stays away from most of the above-mentioned elements. I must admit that at first listen, debut effort “Follow Your Dream” had been a rather subdued affair, listening to it in the background its 50 minutes went by without taking any big notice of things, so I kind of put the album off as just another release out there in the ocean, when I went back to it, though, things started to coalesce and form something that is not just different from the gamut of genre neighbours, but actually highly interesting! No big over the top orchestration, no high flying vocal duels or mind boggling faster-than-light instrumental wizardry, but they take more the widescreen soundtrack type of approach to the genre. Now what is the worst part about this is, the in my opinion weakest track, “Believe”, stands right at the beginning of the album, kicking things off in very unspectacular fashion, but as soon as “Make This Life Worth Living” takes over, things change. After some expressive vocal intro by Juliana, the song turns into an epic and at times almost airy track that lives off it strong atmosphere, with the instruments just aiding the vocal performance of Juliana and Darren Crisp to make them the focal point of the track. Overall epic is the key here, with the atmosphere carrying the songs and the strength of the compositions and arrangements ensuring that we never slip down into the realm of sappiness. “Eyes Of The World” is the track that even two weeks later still is spooking around in my head, slow, with just enough crunch in the guitars to leave an impression, but tons of atmosphere. Darren also shows good restraint in his vocal delivery, which displays power, but stays well in the context of the song surrounding him. This unusual approach to Symphonic Metal really makes SUNCROWN stand out, which is further underlined by the great instrumental “War Spirit” that once more reminds me of a soundtrack, the faster “Follow Your Dreams” or the calm, and epic soundtrack-like “When Hearts Want To Be Together”. “Follow Your Dream” is probably the most unusual Symphonic Metal album I have ever listened to, very unobtrusive, yet epic, atmospheric, yet expressive, a great debut of this international project, which definitely has grown on me a lot over the repeated listens. Don’t let its relatively calm nature fool you, there is a lot of strength to be found and has all the potential to take you away onto a beautiful journey through your mind. Review by "Alex" (www.metal-observer.com).

RATING:  7.75 / 10

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*. Anno Domini .*

Album: Sand & Stone (2005)
Genre: Jazz Rock (Vocal Jazz/Folk/World/Prog)  /  Ukraine

Keyboard instruments, a guitar and percussion. Everything is simple, nothing is unnecessary. Stop, I haven’t mentioned the main thing. The voice. Maryna Zakharova, a girl with brown eyes and velvet tembre of voice. In her photo you can see that some Eastern notes are dissolved in her blood. So, it is not a surprise that these notes appear in the manner of her singing. Though it sounds unusual when set to Ukrainian texts – still, it is interesting and nice. So then, it is very simple, that is, nothing is unnecessary, everything is velvet, interesting and beautiful. It is a good soft jazz, light and fancy, but not too variegated to hurt your eyes. I am sure that it will be pleasant to listen to this jazz even for those who do not listen to any jazz at all, as there is no cold intellectual philosophising in it. On the contrary, there is transparent and light beauty present here. Besides, personally for me it is rather pleasant to hear that Ukrainian texts sound at this disc, and at that the texts written not by somebody, and not folk ones, but personal. If I am not mistaken, it is not so often that such things happen with Ukrainian jazz.– to my great pity. In other words, I advise you to listen – it’s a warm music. Review by "Anton Jozhik Leyba" (http://umka.com).

RATING:  7.75 / 10

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*. Schandmaul .* (Limited Edition + Bonus CD)

Album: Unendlich (2014)(Limited Edition + Bonus CD)
Genre: Folk Rock (Medieval/Folk Metal)  /  Germany

The word eclectic can be used to positively describe a magpie-like gathering of styles and influences to create a whole. It can also hint that the whole is a bit of a mess. ‘Unendlich’ is a bit of both. It leaps about wildly in styles and tones, and whereas this is usually a good thing – who wants to hear fifteen identical songs after all – it makes for a disjointed and unsettling listen at times. Bouncing breezily in is ‘Trafalgar’, a busy little piece with a nursery-rhyme feel to the verse, followed swiftly by the “do-do-dum dum do-do-do” folk shuffle of ‘Tippelbruder’. Appreciation, or otherwise, of this depends on how much you like the idea of the cast of ‘Lord Of The Rings’ bursting into song. It’s a bit too Hobbitty for my liking, and is somewhat over-produced. In fact a lot of the songs here would benefit from a more earthy and less polished studio sheen. On stage, I’m sure they’ll be fine, trees behind, a light drizzle falling, red flares lighting up the night sky. But it feels a bit flat here somehow. The multi-instrumentation is impressive throughout and keeps things ticking along nicely, and there’s no doubting the skill of Thomas Lindner as a story-teller. And there’s a playfulness underlying songs such as ‘Mit der Flut’ despite it being another contender for Bilbo’s favourite party song. Things get most impressive on the slow, dramatic waltz of ‘Baum des Lebens’, a beautiful, understated song, gorgeously arranged and sung. And ‘Tangossa’ is a similar triumph, an instrumental, dancing seductively through the dusky street of Europe’s great cities. Try not foot-tapping to this one. Folk-rock-by-numbers can be heard on the perfectly pleasant enough ‘Mittsommer’, and the farmyard knees-up of ‘Little Miss Midleton’ has a slow/ fast thing going on that will keep the purists more than happy. The album ends softly with the gentle harmonies of ‘Mein Bildnis’ giving way to the subdued ‘Märchenmond’. It’s a stunning end to the album, and allows one to forgive the huff-and-puff and bluster of some of the earlier over-folked moments. It’s epic in every sense of the word. ‘Unendlich’, then. It’s folk, it’s rock, it’s Middle Earth versus studio polish, there’s beauty here, and liveliness there, an over-crowded but happily busy little collection of songs. In a word, eclectic. Review by "Stephen Kennedy" (www.reflectionsofdarkness.com).

RATING:  7.25 / 10

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*. Laurence Vanay .* (Remaster 2013 + Bonus)

Album: Galaxies (1974)(Remaster 2013 + 9 Bonus)
Genre: Prog Rock (Prog Folk)  /  France

Laurence Vanay is the pseudonym for Jacqueline Thibault, wife of famed French music producer and musician Laurent Thibault. This album is pure genius. Stunning organ, flute, and acoustic/electric guitar are the instrumental ingredients. Even a little Zeuhl bass to knock things around. And here on "Galaxies", she provides both wordless, and occasionally sings lyrics, in that soft, seductive female manner - all in beautiful French of course. Near perfect. 2013 update: Do not miss the incredible mini-LP CD reissue of this from Lion Productions. Includes 9 bonus tracks that contain both older and newer recordings. Review by "ashratom" (Rate Your Music).

RATING:  8.25 / 10

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*. Lacrima .*

Album: Lacrima (1981)
Genre: Prog Rock (Folk/Krautrock/Symphonic/Deutschrock)  /  Germany

In my mind, Lacrima is a really good example of Deutschrock, which I separate from Krautrock, German progressive rock and polit-rock. I define Deutschrock as nondescript commercially oriented rock with German lyrics. Basically the German local version of our Journey and Boston (completely different sound, but same idea). The Aquarell album we have in the main list is another recent example. Lacrima is a very eclectic release, so there are some very fine moments here, in particular one sequence that recalled the haunting style of Emma Myldenberger. But the album closes with a horrid blues rock track as an example. As the AC says: "Lacrima is kind of all over the map. Some folky stuff, symphonic prog, terrible straight blues, etc. A real mixed bag." Worth hearing, but not a top priority, that's for certain. Tonstudio Bieber is the same label that released Ocean's "Melody" and the Nanu Urwerk album (we're pretty sure Justin isn't involved). Review by "ashratom" (Rate Your Music).

RATING:  7 / 10

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*. Major Parkinson .*

Album: Twilight Cinema (2014)
Genre: Prog Rock (Eclectic/Cabaret/Exp./Pop/Electronic/Dark)  /  Norway

The third album of Major Parkinson shows a band that has matured significantly. The work has been named Twilight Cinema and is mixed by legendary Yngve Saethre in Duper Studio. The whole thing has been a dark, uncompromising and ambitious journey through a dense forest of melodies, closely accompanied by a black river of doom poetry. Twilight Cinema is a darker version of Major Parkinson than the one we know from previous releases, without having gone beyond the band's character. The classic Parkinson-like melodies have now found their place in a far tighter directed and more electronic sound. (https://majorparkinson.bandcamp.com)

Songs / Tracks Listing
01. Skeleton Sangria
02. Impermanence
03. Black River
04. The Wheelbarrow
05. A Cabin in the Sky
06. Heart Machine
07. Beaks of Benevola
08. Twilight Cinema

Line-up / Musicians
Jon Ivar Kollbotn / vocals
André Lund / guitar
Eivind Gammersvik / bass
Lars Christian Bjørknes / synth
Jens Erik Aasmundseth / drums
Steinar Hjelmbrekke / guitar, backing vocals

RATING:  8.25 / 10

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*. Fuchsia .*

Album: Fuchsia II: From Psychedelia...To a Distant Place (2013)
Genre: Prog Rock (Folk/Alternative/Psych/Pop)  /  UK

Albums that are 40 years in the making don’t come around too often. In fact, aside from Chinese Democracy (har har!) I can’t think of any at all. But that’s exactly what Fuchsia’s second album is, after a debut release in the 1970s, the band disbanded and, after time, the record became a bit of a cult favourite. But let’s be honest, that has no bearing on what a new album could sound like. It’s hard to tell if there would have been a lot of pressure in the studio, or none, but either way the result is an album that dances with psychedelia and prog-rock, with a bit of folk thrown in, but never fully delves into any one genre. The one thing that From Psychedelia does show, however, is that music can be timeless. You’d fully expect an album from a band with only one release (40 years ago, remember) to sound like it was a bit stuck in the past, instead it actually sounds modern, and the production itself is rather well done, too. “Lost Generations” sounds very modern indeed, with crazy strings bouncing around the listener’s ears, then some seriously groovy guitar playing. Unfortunately, Durant’s vocals are a little on the soft side, and don’t quite match up to the music. Of course, they happily sit with plenty of the other songs, but not on this occasion, which is a shame as it’s an up-beat track. “Fuchsia Song” has a joyous, upbeat sound, too – almost sounding like a modern folk-pop track you’d happily hear on the radio. It’s a stand out, and although there are no bad tracks really, again it feels like the vocals are under-produced, and a harmony here or there wouldn’t hurt. Far better in that respect, is “I’ll Remember Her Face”, a traditional middle-album song. The slower pace, the picked acoustic guitar higher in the mix, it does manage to sound folky, but also retain that airy feel that helps the listener drift into the music. From Psychedelia is a decent listen, and without setting the world on fire, it’s worth checking out, especially if you’ve waited 40 years to hear it! Review by "Adam Cook" (www.seenitheardit.com).

RATING:  ???????????????

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*. Terra Mater Project .*

Album: Terra Mater Project (2000)
Genre: Prog Metal (Melodic Metal)  /  Germany

In the beginning there was mother Earth and then came the project! That's probably the best way to describe the story of the birth and the meaning of the name "Terra Mater Project". The three project brains Michael Krauss, Jürgen Ahrens and Bernd Ernst met in early 1997 and decided to "do their own thing". "Terra Mater Project" was born. From that point on they started creating a uniform conception, which became a whole in music, text and optics. The proof is their first released self-titled work. The music is traditional Heavy Metal. But, and this is important! The songs were arranged well and have a modern sound! You find influences from progressive areas and always "a lot of melody". "Terra Mater Project" also shows us that they are able to compose great ballads. All texts were based on one theme - the Earth. They intentionally chose spiritual contents of various mythologies to supply a broad spectrum and to inspire the vocalists toward an emotional interpretation of the songs. In the visual design, reference has also been made to mythologies. By this the circle has been closed to the aspired union. (www.sod-rec.de)

RATING:  6.75 / 10

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*. Jump .*

Album: The Black Pilgrim (2013)
Genre: Prog Rock (Folk/Crossover Prog)  /  UK

Songs / Tracks Listing
01. Lockout
02. My Lady of the Fairground
03. The Eagle Has Landed
04. The Black Pilgrim
05. Let the West Wind Blow
06. Your Madness
07. Princes of Anger
08. Hell or High Water
09. The Ballad of the Queen of the Morning

Line-up / Musicians
John Dexter Jones / Lead Vocals
Steve 'Ronnie' Rundle / Electric & Acoustic Guitars, Vocals
Steve Hayes / Electric Guitar, Backing Vocals
Phil Mayhew / Bass
Mo / Keyboards
Andy Baker / Drums

RATING:  ???????????????

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*. Sun Dial .*

Album: Live Drug (1996)
Genre: Psychedelic Rock (Neo Psych./Shoegaze)  /  UK

These U.K. psychedelic rock revivalists have produced a bunch of LPs that are highly regarded in the genre, and strangle experienced a short stint of above-the-underground indie success at the turn of the '80s/'90s. Soldering on like true post-punk independents, they created a string of retro psychedelic albums for the tiny Acme imprint and evidently fall into the same bag as Bevis Frond, Crystalized Movements, and Gypsy. Live Drug is a collection of live recordings that fare nothing against their studio albums -- excellently recorded and great songs without a doubt -- though newcomers are advised to check out Other Way Out or Return Journey for great examples of '90s psychedelic rock at it's finest. Review by "Dean McFarlane" (www.allmusic.com).

RATING:  7 / 10

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*. Ethereal Riffian .*

Album: Aeonian (2014)
Genre: Psychedelic Rock (Stoner/Doom Metal)  /  Ukraine

Don’t judge a book by its cover. An old idiom, but one that could be similarly applied as “don’t judge a band by their name”. Well, in the case of Ethereal Riffian, their name gives you a pretty good idea what to expect. On the Ukrainian experimental metal quartet’s second full-length offering Aeonian, the listener is bombarded with just shy of 45 minutes worth of grandiose sonic landscapes that range from ambient to crushing without ever losing a prevalent focus of the almighty riff. Spread across four songs all breaking the 10 minute mark, Aeonian demonstrates a matured display of songwriting and proficiency impressive for a band that’s only been around since 2010. It can be difficult to maintain listener focus with such gargantuan pieces, but Ethereal Riffian succeeds more than falters. There are certainly some areas that feel like filler here and there, but one could argue that they’ve been strategically placed to give more breathing room to the infectious riffs and melodies that really shine. Speaking of riffs, this record is positively filled with ones that will stick in your head for days. The crushing groove in the latter movements of “March of Spiritu” will bore right into your skull, and “Wakan Tanka” is bolstered by some equally powerful string mastery. Thankfully, the band never wholly relies on this unabashed heaviness and allows plenty of atmospheric repose and even some surprising but welcome elements of world music permeate the calmer sections of the album. Occasional guitar solos that rear up are equally impressive, delving into bluesy territory on the two aforementioned tracks but shifting into a more menacing tone on the epic closer “Anatman“. It’s a shame that the only major blemish on this record is the vocals. While not egregious enough to fully turn the listener away, they just don’t exhibit the same forward-thinking nature as the instrumentation. The hypnotic moaning is executed well, but just becomes ultimately monotonous and distracting. There is a fleeting glimpse of harsh vocals on “March of Spiritu“, which really made me wish that had been revisited elsewhere on the record to give a bit more dynamic and vibrancy to the performance. As with most bands within this sub-genre, the crooning is few and far between, bringing to question whether the band would be better off as an instrumental outfit. Daunting song lengths aside, it’s impressive for a band to cover so much audible ground over the course of just four compositions. Ethereal Riffian should be commended for crafting a coherent piece that’s frequently engaging and still feels like a complete experience despite a short track listing. Sophomore blues definitely aren’t anything these Europeans need to worry about. Review by "Adam Cutler" (http://nefariousrealm.com).

RATING:  7.5 / 10

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*. The Worm Ouroboros .*

Album: Of Things That Never Were (2013)
Genre: Prog Rock (Eclectic/Canterbury/Folk)  /  Belarus

Belorussian band The Worm Ouroboros are clearly informed by the classic Canterbury scene, and it's most apparent with regards to the fuzzy keyboard tones, copious use of flute, complex meters, kinetic electric guitar, and a melodic disposition.  All of which automatically elevates the album to top tier status in UTR's world. Certainly other classic early 70s progressive influences come to the fore where one can easily spot Steve Hackett, Pink Floyd, Camel, Genesis, Jethro Tull, and even Magma! Some of the acoustic guitar and flute duo's reminded me of Solaris. The Worm Ouroboros should only improve from here, as they start to shed the obvious influences, and their own identity commences to emerge. They're off to an excellent beginning! Review by "ashratom" (Rate Your Music).

RATING:  ???????????????

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*. Transatlantic .*

Album: Kaleidoscope (2014)(2Cd's)
Genre: Prog Rock (Symphonic Prog)  /  Multi-National

It was 2009 that Transatlantic last released a new studio album. And with only a few listens you can tell is was worth the wait. What started as a side project more than 10 years ago has evolved into a full-fledged band that ranks at the top among all the Prog greats. Each album boasts multiple songs in excess of 25-30 minutes written seemingly with ease. With this new album, Kaleidoscope, the group live up to their own lofty standards while in many ways exceeding expectations. Whirlwind, in contrast, while a masterpiece by any measure, was a lot of music to absorb given that it was a 72 minute song. In Kaleidoscope, the band returns to their prior album format, bookending the disc with 2 Prog epics and including 3 shorter length songs. This album is a musical experience, and there is not one minute worth skipping. Kicking off the album with the brilliant “Into The Blue” is the personal highlight for me. This immensely strong song is as perfectly constructed a 25 minute epic as you can hear. The opening “Overture” boasts some incredible musicianship by each band mate, while also introducing the main theme of the song as only Transatlantic can do. The epicenter of the song, “The Dreamer and the Healer” is one of Neal Morse’s finest moments, both vocally and with respect to his songwriting. Sprinkled throughout the song are some unique and interesting moments which seem to be influenced by the latest Flower Kings album.  We can’t overlook the section “Written In Your Heart”, which features Daniel Gildenlow on lead vocals. Having been a 5th member live with the band for many years, it is nice to see him get a moment on this CD. He shines on this song, adding an exciting vocal element that could only fit his voice. The song closes with a reprise of “The Dreamer and the Healer” in typical Transatlantic and Neal Morse fashion, telling a fantastic musical story and coming full circle. The ending is so powerful and moving that the album could have stopped there, and it would still be a top album of 2014. Second is the acoustic ballad, “Shine,” which was the first single and video released in late 2013. Recalling “We All Need Some Light” from the band’s first album, the song is a nice contrast from the 30 minute epics. It really showcases the bands ability to write a solid melody without needing the instrumental gymnastics and the 10 different parts. With some Prog bands, fans might skip the short ballad; however, with Transatlantic, I tend not to do that. They have proven that even their shorter ballads are to be treasured. While most of the bands fans will point to the epics as the their favorites, the ballads are necessary for the album and appreciated just as much.“Black as the Sky” is the surprise on the album, as the band hasn’t really done a shorter straight-up rock song since “Mystery Train” on SMPTe. Musically, it would be a great fit for The Whirlwind. The middle section, around the 4 minute mark, is where the band does their best impression of Genesis’ “The Colony of Slipperman.” From there, the song gets a bit heavier and really never lets up until the end. The chorus, which is sung by the entire band in unison, sounds like a band that is really confident in themselves, again not needing 30 minutes to show that they can kick ass. This song is truly another highlight in the Transatlantic catalog, and showcases their talent, both as individual musicians and as a unit. “Beyond the Sun”, the 4th track, is written and performed by Neal Morse. It is a quiet ballad, similar to “Bridge Across Forever” from the band’s second album, and I consider it the calm before the storm, the album’s title track and longest song “Kaleidoscope.” Clocking in at 31 minutes, “Kaleidoscope” is different than “Into the Blue” in that the opening song really leans on the main musical theme throughout, where this track has a few more distinct parts that could have been songs unto themselves. The opening verses of “Ride The Lightning” are upbeat and carried by Mike’s drumming, such as in the opening verses on “The Whirlwind.” “Black Gold”, on the other hand, is pure Roine Stolt, a bit darker in tone and features some intense strings, as if a theme to a movie. His voice is so unique and a pleasure to hear appearing.  “Walking The Road” is Pete Trewavas’s turn at the wheel, where he takes over lead vocals. The melody in the chorus is easily memorable and is followed by a horn interlude, which then flows into a string and guitar section, bringing us back to the song’s main musical theme. The next section, “Desolation Days,” is a Neal Morse acoustic section where he repeats the chorus from “Ride the Lightning” in a more subdued manner and sounding like a completely new part. One of Neal’s strength is singing with just an acoustic, and it is a perfect fit here.“Desolation Days” could have been a single. The section called “Lemon Looking Glass” is the strongest instrumental section on the album. Pete’s playing is solid and nicely featured throughout. The bass is very prominent, not only in this section but also really throughout the album, more so than in the previous albums. Mike Portnoy has not had a chance to let out his Prog mastery in a while, and it’s nice to hear him as sharp as ever on this song and album. The ending is a reprise of “Ride The Lightning” with an extended guitar solo ending and fade out. After 75 minutes of Prog genius, one can exhale and appreciate the masterpiece that is Kaleidoscope. It’s all there: the long songs, the short songs, the instrumental sections, and the repeating melodic themes. Yet it all sounds as fresh and vital as ever, taking us on a musical journey that only Transatlantic can do. There is a special edition, which includes some amazingly well produced covers, including “And You and I”, “Goodbye Yellow Brick Road” and “Night in White Satin”, among others. The effort that Transatlantic put into these songs is apparent, making the Special Edition a worthy addition. A nod has to be made to the album’s design and packaging. It is not often that you get a CD in this day and age, that you actually hold in your hand while listening, look at the pictures, and read the lyrics. Unfortunately, it’s an experience lost in today’s music environment, which hits home when you get an album of this magnitude. Downloading one song off of it from iTunes just wouldn’t be the same. Fans can support the band and appreciate the entire experience by purchasing this album. You won’t be sorry that you did.
Review by "The Prog Report" (http://progreport.com).

RATING:  8.25 / 10

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*. Lost World .*

Album: In Concert (2009)
Genre: Prog Rock (Crossover/Jazz/Folk/Symphonic)  /  Russia

I was having a 'conversation' with Andy Didorenko one day, and I said that I had never heard their live album which was recorded in Moscow at the end of 2009. His response was that he was never entirely happy with it as it was hard for the four of them to reproduce the material on stage. There was a lot of instrument switching, arrangements had to be simplified and keyboards were utilised for bass. He finished by saying that he wished that they had an orchestra at their disposal like ELP had in '77, but if I really wanted to hear it then he would send me a copy. Well, if he is disappointed in this I really want to hear something that he is entirely happy with! Lost World Band are Vassili Soloviev (vocal, flute, guitar, keys), Andrii Didorenko (acoustic and electric guitar, violin), Konstantin Yudin (keys) and Veniamin Rozov (drums), and they push the boundaries between prog, jazz and classical so much so that the lines are completely blurred as they trample all over any sort of musical restraints. When Andy is in full flight on violin then it is as if they are channelling KBB and turning them into something even more dramatic and powerful. "Samum" is a case in point, as while Andy often takes the lead, the reason that it works so well is due to the support with Vassili swapping between flute and guitar, Konstantin providing some incredibly deft pianowork and Veniamin driving it along ferociously from the back. But there are other songs when Vassili is very much the melodic lead and Andy provides support. The strength of these guys is their incredible musicality (remember these guys started off when Vassili and Andy met while undertaking classical studies at a conservatory), their knowledge of musical structure and arrangement, and their downright refusal to conform to any sort of preconceived ideas of what they should be doing. This is what prog music should be about, musical dexterity and complexity while at the same time capturing the listener so that they have to stay right to the very end. Andy may not be completely happy with this album, but I am. If this doesn't deserve five stars then nothing does. Review by "kev rowland" (Prog Archives).

RATING:  8.25 / 10

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*. Triakel .*

Album: Triakel (1998)
Genre: Prog Folk (Contemporary/Acoustic/Swedish Folk)  /  Sweden

This is traditional Swedish music stripped down to its absolutely gorgeous acoustic roots. Featuring members of Hoven Droven and Garmarna's lead vocalist, these are musicians who live very much in the 21st century. The restrained approach and the loving touch they show here makes clear how much they respect the older musical traditions. There seems to be a plethora of overly-sentimentalized acoustic traditional music out there... one is well-advised to be on guard against this. Triakel play with passion and intensity as well as reverence, bringing this music to life. They are a fantastic band live, especially in intimate venues. Using only harmonium, violin and voice, Triakel creates a musical atmosphere of remarkable depth and texture. The melodies are hauntingly beautiful. Emma Hardelin's voice is magical and really flourishes in the intimate Triakel arrangements. 
Review by "M. Hartman" (www.amazon.com).

RATING:  7.75 / 10

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*. Collibus .*

Album: The False Awakening (2014)
Genre: Prog Metal (Melodic Metal)  /  UK

The grandiose intro track of Lie In Wait flows straight into a stabbing riff that underpins the early movements of Leave It All Behind. Its chorus and Gemma Fox’s overall vocal performance are truly outstanding, the passion and the fury crackling in her throat throughout. Despite the song veering off in all directions – as every good prog song should – it always remains focused on the task at hand, it always remains hugely entertaining. Renowned within the band for his meticulous perfectionism, guitarist Stephen Platt proves just how virtuous patience can be on the album. With a tone that lends itself perfectly to any mood that it needs to portray, he mercilessly unleashes stunningly brutal riff after stunningly brutal riff while his soloing is flamboyant-yet-powerfully melodic and emotive. His playing alone would be enough to shift records and sell tickets but the fact it sits, alongside Gemma's gigantean vocals, as the centre piece to an extremely well produced and mixed collection of songs raises The False Awakening to a whole new level. Platt, who took on the producing duties himself, deserves a fair degree of credit here. With such a busy sound, completed by atmospheric synths and a skull rattling rhythm section, there is still room for the instruments to breathe. Dead Inside, the album’s lead single is lathered in a searing energy that ignites the track, which includes another fine vocal performance and some magnificent Killswitch Engage inspired riffwork. Break The Silence meanwhile, sees the band tapping into softer, ballad-esque territory; furthermore, it shows a band unafraid of broadening their musical horizons. Taking a menacing, demented twist as crunching, distorted guitars stomp to forefront of the mix; it remains unpredictable and leaves you utterly transfixed. It’s a track that represents the intellectual musicianship which drives the band and album. With every song, they know when to toy with the dynamics, flaunt with different rhythms and melodies before crashing back into a killer chorus or devastating riff. To sound this accomplished so instantaneously is incredible. While the length of the album, being a debut, may put some people off, rest assured that there are no filler songs on here. With lashings of Dream Theater, Tool, Rush, Periphery and more, all coated in a distinctly individual sound and played with a fearless conviction, The False Awakening, in this writer, can claim itself another fan, another victim. Review by "Phil Weller" (http://manchesterrocks.webs.com).

RATING:  ???????????????

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*. Bushman's Revenge .*

Album: Thou Shalt Boogie! (2013)
Genre: Prog Rock (Jazz Fusion/Exp./Psychedelic)  /  Norway

Formed in 2003, the Oslo based trio are upfront about their love for the progressive rock of Cream and Jimi Hendrix, the galactic jazz of Sun Ra, Ornette Coleman, Sonny Sharrock and Alice Coltrane, plus the raw power of Black Sabbath and The Pixies. Thou Shalt Boogie! is their sixth album for Rune Grammofon, a relationship that began with 2009’s You Lost Me At Hello. Its velvety, warm sound was captured at Athletic Sound in Halden, Norway, close to the Swedish border – a legendary tape-only studio with a 30-year history. Although there are three rooms separated by glass, they kept all the doors open ‘so essentially what you are hearing is everybody in one big room’, says Even. Superbly paced, and poised in the indefinable zone between composing and improvisation, Thou Shalt Boogie! achieves a fine balance between brute heaviosity and meditative bliss. Even Hermansen brought various ideas for chord sequences and melodies into the studio, but the group collectively make them their own, adopting an ‘everybody solos, nobody solos’ approach. One of the two long set pieces on the record is the 17 minute ‘Baklengs Inn i Fuglekassa’, which includes the shimmering drone of an Indian sruti box halfway through – an innovative touch that transports the track to an unearthly plane. The working title of Thou Shalt Boogie!, Hermansen reveals, was Yoga. ‘The idea was to do a more meditative record than we previously have,’ he admits. ‘The drone is a small tip of the hat to Alice Coltrane. Her Journey In Satchidananda is one of my favourite records of all time. I wanted to have some kind of tribute to her on there.’ Although Bushman’s Revenge is essentially a trio (with Rune Nergaard, bass, and Gard Nilssen, drums), they were joined on this date by keyboardist David Wallumrød, whose Hammond organ tones provide silky washes of background colour. The band included him on a tour in early 2013 and he stuck around. ‘The band has never been tighter and we’re having more fun than ever,’ says Even. ‘The point is to keep moving – forwards, backwards, sideways, up or down, it really doesn’t matter as long as you’re in motion.’ (www.piccadillyrecords.com)

RATING:  7.5 / 10

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