*. Jonas Lindberg .*

Album: The Other Side (2014)
Genre: Prog Rock (Crossover Prog/AOR)  /  Sweden

 Album 2014 - EP'S: In Secret Pace (2012) + The Other Side (2013)

 

Review EP (2013) - Emerging out of the new wave of Swedish progressive music, JONAS LINDBERG & THE OTHER SIDE present their EP 'The Other Side'. Due to the craftsmanship of the musicians, the refinement in songwriting and production, this is a stunning release. All performances are expressed with emotion and conviction to blend in a high-quality symphonic prog brew, travelling along the borders of AOR-style. Being a multi-instrumentalist, Jonas Lindberg shows his skills on bass, acoustic and electric guitars, keys, mandolin, back vocals and programming. The lead singer Jonas Sundqvist is reminiscent of Mark Truesak, albeit there're occasions where I think of Colin Blunstone too. Drums are played by Jonathan Lundberg, guitars by Calle Stalenbring, keyboards by Michael Ottosson. The whole offer has five songs, approx 30 minutes in duration: from subtle inflections to fast-paced pieces. 'Lies' is a great opener, immediately affirming the patent sound with floating melody lines backed by tantalizing keyboards and vibrant bass. Aussie band Unitopia is a good point of reference. Alan Parsons Project is another comparison. The sparkling title track easy could have been on any Moon Safari CD. Elements of Yes and Genesis prevail in 'Where to Begin'. It reminds about 'Owner Of A Lonely Heart' but the whiffs of Tony Banks permeate the second half of composition. It's followed by 'Little Girl', a sensitive ballad which makes the content go out like a night candle. And to spice up the recipe, 'Line No. 18' is the longest song (8:23) fusing elements of Yes, Toto, Kansas and TFK. Here, the vocals aren't a million mile away from Chris Squire himself. I'd say that this is a fine conclusion to the consistent release... These talented guys are pros in every sense of the word, delivering far more than one would expect from a melodic progressive outfit. My hope now is that Jonas Lindberg and his crew will find some inspiration to give us a full-length album without waiting too long.  Review by "PH" (Prog Archives).

RATING:  8 / 10

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*. Franco Maria Giannini .* (Reissue)

Album: Affresco (1974)(Reissue 1994)
Genre: Prog Rock (Folk/Art Rock/Symphonic/Pop)  /  Italy

There were many performers who released albums in the Italian singer/songwriter tradition during the 1970s, names like Enzo Capuano, Battisti, Genco Puro, and Stefano Testa to name a few. All used elements of the songs tradition and mixed varying degrees of other influences, orchestrations, experimentations, and the prog-rock popular in Italy at the time. Some worked better than others and some had more on an RPI association than others. One of the nicest gems to come from this period is "Affresco" by Franco Maria Giannini. Born in Rome in March 1945, Giannini (real name Aldo Parente) began playing with bands in the late 1960s. He was active on the festivals scene of the early 70s and in 1974 released this album for a small label named Aris Records. In later years he has struggled with poverty and apparently seen little financial reward by labels who have reissued his album on CD. He has made an appeal to fans who enjoy his work to maybe make a small donation directly if they wish. He can be contacted through Myspace or his own website. "Affresco" is a wonderful album! While steering clear of long, complex instrumental prog it features eight feisty 3-5 minute tracks full of variety and proggy touches. While the basic tracks have a folk-rock feel about them, they are souped up with a bit of everything: cello, violin, mandolin, 12-string, trumpet, electric solos and keyboards. "....some parts are similar to the Procession albums, also released in 1974. The playing is enthusiastic and convincing....some romantic violin and mean guitar parts.... In between there are Jethro Tull-like flutes, mandolins and acoustic guitar, placing this album between folk, classical, jazz and heavy rock with characteristic Italian "canto" influences." [Scented Gardens] The title track opens with a nice rocker, upbeat, with mandolin for some flavor. It is the second track where the album gets good for me, as the beautiful violin of Quella Vecchia Locanda's Claudio Filice opens the track. Instantly recognizable and adds a ton of atmosphere! The Italian song tradition is in full display here with a festive vocal and rolling piano along with the violin. Another weapon the album boasts is the capable lead guitar work of Libra's Nicola Di Staso. Giannini's vocals are not among Italy's best RPI singers but they are pleasant and perfectly suitable. "Il Cane Duc" features some lovely mellotron or strings to a heartfelt ballad. Later comes the inventive use of horns which were not super common, and reminds one of Battisti's "Anima Latina." In fact, Giannini should play well to any fan of Lucio Battisti via the use of inventive arrangements that take the songwriting to another level. The songs are uplifting and rather hopeful though of course I cannot comment on what the lyrics actually reflect. Another similarity to "Anima" is the use of children's vocals on "Per La Tua Strada" which really plays to one's heartstrings---it may be too sappy for some but I'm pretty sentimental and I love that kind of thing. Great musicianship continues with lovely integrations of feisty guitar, piano, violin, mandolin, soft keyboards, flute, and warm bass. I'll probably get some flak for this comment, but I would actually choose Giannini's delightful "Affresco" over Battisti. I'm not saying it's "better" music, simply that I enjoy it more. Giannini should be very proud of this album which I predict will become much more popular as the current crop of RPI fans begin to discover it. Probably a 3 star album to most people, I have to give this 4 because it turns out to be music I care about. For me, it tugs at the heart like an old Cat Stevens favorite but with the Italian touch. The album is recorded quite well and still sounds pretty good even by today's standards. Sadly the Mellow issue contains no biographical material. But the artwork, when folded out to view the front and back covers, is one of my favorite album covers. "Affresco" really deserves to be reissued in much nicer packaging, I want to see this album remastered and given a gatefold mini-LP sleeve. Well, BTF or Japan, are you listening?? This review is dedicated to an old friend. Yeah, you. 
Review by "Finnforest" (Prog Archives).

RATING:  8 / 10

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*. Spectra .*

Album: No Secrets (1979)(Reissue 2008)
Genre: Prog Rock (Jazz Fusion/Symphonic Prog)  /  USA

Songs / Tracks Listing
01. Spare Change / Rags On A Chain
02. Risky Business
03. The Best
04. Fast
05. Stay Awhile
06. Ricj Kid
07. After You Kissed Me

Line-up / Musicians
John Burgess / keyboards, vocals
Randall Bumpous / bass, vocals
Billy Councilman / drums, percussion, vocals
Russell Jones / guitar, vocals
Neil Montgomery / sax, flute, vocals

RATING:  8 / 10

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*. Alpha III .*

Album: Sombras (2014)
Genre: Prog Rock (Electronic/Exp./Symphonic Prog)  /  Brazil

Review Original Lp (1986) - By mid-80's Amir Cantusio Jr. had not only entered his most prolific period, but he also established his own record label to promote his vinyls under the name of Faunus Records.Meanwhile his work becomes more and more a personal case and for his third album ''Sombras'' from 1986 he was helped by Eduardo Furlan on bass/violin, Francisco Beltrame on drums and Michael Lizst Cantusio on vocals.This was also his first release on his own record label. His style remains a melancholic, spacey but also romantic introduction to both Symphonic and Electronic Rock, split in eleven short tracks.The same problem with the majority of Alpha III releases appears in ''Sombras'' as well.A very muddy and amateur production almost buries the keyboard ideas and the rhythm section, but on the other hand the music is quite interesting with some great floating synthesizers blended with elegant symphonic passages.Nice hypnotic electronics, grandiose organ runs and smooth piano interludes complete an imaginery soundscape of an inspired musical pallette full of deep atmospheres and spacey journeys.Additionally the album also contains some great bass grooves accompanied by solid but cheap-sounding drumming, upon which Cantusio Jr. fully develops his synth mannerisms and comes up with some really virtuosic WAKEMAN-ish moments. A good effort of keyboard-based Symphonic/Electronic Rock, unfortunately the bad production affects the listening at a significant deegree.Still ''Sombras'' comes recommended to all fans of keyboard-driven Progressive Rock. Review by "psarros" (Prog Archives).

RATING:  7.25 / 10

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*. 3rd Ear Experience .*

Album: Boi (2013)
Genre: Psychedelic Space Rock (Jam/Exp./Prog Rock)  /  Multi-National

I have been a moderate fan of Tribe After Tribe over the years. Robbi Rob is tremendously talented but sometimes his stuff is a bit out there for me but the Pearls Before Swine album is one of my all time favorites. However I have been a huge King's X fan for 15-20 years. Still, I wasn't expecting an album this good. Dug's vocals are stronger and clearer sounding than they have been on recent solo projects of his. Also, when I heard it was psychedelic space rock I figured it would be a bit meandering and lack focus. But this album achieves what few trippy space albums have in the past. The jam band aspects are there, but there is more focus and cohesiveness when compared to most projects like this. If you are fan of either of these guys (or even if you are not) do yourself a favor and pick this up. Review by "S. Frank" (www.amazon.com).

RATING:  ?????????????

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*. Golgotha .*

Album: Symphony in Extremis (1993)
Genre: Prog Metal (Prog Rock/Symphonic Metal)  /  UK

Once a full band, by the first release - Unmaker of Worlds (1990), Golgotha had already scaled down to being the singlehanded project of one Karl Foster. That release, with its four lengthy tracks, bore out the evidence that progressive rock can also be excessive and agressive - beautiful and destructive. Golgotha's sound effectively can be described as keyboard-driven symphonic progressive-metal, complete with frenetic Arthur Brown-esque style vocals. On Symphony in Extremis, Foster has further refined this trademark sound, smoothing out many of the rougher edges, while offering a concept worthy of attention, especially in these divisive times: the lyrics explore the then-popular rationale, attitudes, and bogus ideology that led to the holocaust in Germany, complete with printed lyrics and booklet photos that may be more than a bit disturbing at times - certainly not for the faint-hearted. The album consists of only this one 40 minute gargantuan epic, powerful and stunning, divided into four parts, each with its own focus and direction. Musically, by comparison to the first album, this is much more symphonic and less hard edged, utilizing dense keyboard overlays and a four piece choir; but there are still plenty of soaring metallic guitar passages with some heavy distortion. For those who require comparisons, musically this could be aptly described as The Enid meets seventies Rush. My only complaint is the use of programmed drums; although they don't detract from the overall effect of the album, it could've been that much more powerful with the added dynamics of real drums and percussion. In summary, if you don't mind the very direct and to-the-point concept lyrics, and a musical style that some may consider pretentious, this is an excellent album that delivers on many levels. 
Review by "Peter Thelen" (http://expose.org).

RATING:  7.25 / 10

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*. The Escape .* (Re-Post)

Album: Every Tear Dries (1994)
Genre: Prog Rock (Gothic/Electronic/Darkwave)  /  Germany

Songs / Tracks Listing
01.Children Of The Damned (5:08)
02.Lords Of The Dark Horizon (4:33)
03.Never (4:58)
04.Waiting (3:30)
05.Marionettes (3:07)
06.Desert Song (5:24)
07.God ? (5:12)
08.Silently (4:48)
09.Shine On (4:03)
10.A Normal Day (4:02)
11.Harriet (4:44)
12.Waiting For John Wayne (4:59)

Line-up / Musicians
Heiko Wersing / Guitar, Keyboards, Programming
Ingo Klemens / Singer, Guitar, Keyboards, Songwriter, Programming
Randy Meinhard / Guitar
Tommes Arensmann / Keyboards

RATING:  7.75 / 10

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*. Entity .*

Album: Il Falso Centro (2013)
Genre: Prog Rock (Symphonic Prog)  /  Italy

Songs / Tracks Listing
01. Davanti Allo Specchio
02. Il Desiderio
03. Il Tempo
04. Il Trip Dell'ego
05. "ANT"
06. L'Armatura
07. La Notte Oscura Dell'anima

Line-up / Musicians
Marcello Mulas / guitars
Sergio Calafiura / vocals
Mauro Mulas / keyboards
Gigi Longu / bass
Marco Panzino / drums

RATING:  7.75 / 10

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*. The Kindred .*

Album: Life in Lucidity (2014)
Genre: Prog Metal (Prog Rock/Alternative)  /  Canada

Aristotle spoke of the "golden mean" - the desirable middle between two extremes. A lot can be said for finding a healthy medium in music, especially in music with very progressive leanings. There seems to be a lot of "this band is boring" from the progressive fans, as well as a lot of "this band tries too hard to be complex/progressive/deep" from the prog-hesistant music listeners. The Kindred (formerly Today I Caught the Plague) seem to have found themselves politely hovering right in what can be thought of as "no man's land" in World War I trench warfare, relatively seamless and original style of progressive music that is as accessible as it is complex and abstract. The Kindred are a group who have undergone a drastic stylistic change along with the change of their name, dropping nearly all metalcore influence for a more progressive metal/rock vibe, and have used this new style to create a very complex and perplexedly deep album and has more than enough accessibility and catch to latch on to. Critics of vocalists like Rody Walker of Protest the Hero, and Darroh Sudderth of Fair to Midland will have an absolute field day on the soaring vocals of The Kindred's Dave Journeaux, who is not afraid to transform from calm soothing vocal lines, to powerful, energetic wails. While Journeaux is an exceptional vocalist, there are indeed point where his vocals are slightly off-putting. Take for example the outro to one of the album's singles "Decades". While there is nothing completely wrong with his voice, the vocal lines seem off-putting and just not up to par (partially due to songwriting, i believe that section was one of the weakest on the record). While many will criticize Journeaux, I do believe that he showcases his outstanding abilities and really sets this group apart. His voice brings a very unique and irreplaceable aura. The group wastes no time in showcasing their wide array of styles they utilize as the album begins with "Wolvish", and instantly catches you with a few notes that could have easily been tossed into Sergio Leone's saga of "Man With No Name" films, and then quickly moves into a bouncing and fun, yet intricate riff as the album really kicks off. The song soon transitions into what very well should be a sung in the most depressing 1920's speakeasy of all time. This track is a decent indicator of what's to come as far as extensive mood changes, progressive tendencies, and powerful vocals. Keyboardist Matt Young is not a slouch by any mean. I tilt my hat to him when he takes control of the band in small moments, with small solo's like the one in the spaghetti-western shred-fest that is "Millennia" that hint towards In-A-Gadda-Da-Vida or House of the Rising Sun, or the twisted-circus synth line that "Dreambender" begins with, continuing on to a piano solo, and leads into a solemn piano layered with a choral line and really envelopes the listener. More importantly Young is able to add an additional layer to the majority of the record. Mike Ieradi does extremely well behind the kit, and really ties this record together with some very well written drum arrangements that don't try too hard to melt your face with technicality, but still remain intricate enough to appreciate. Ieradi is not just another man keeping tempo for a group, he is/was (Mike recently committed to leave The Kindred and join forces with Protest the Hero) a backbone for this group. Axe-men Ben Davis and Steve Rennie both wield Telecasters and both bring a unique style of riffage and a modern guitar tone with a twinge of classic progressive-rock. Eric Stone on bass may not be the most meticulously refined bassist, but brings some great bass lines and a very elastic tone to the modern metal group. While comparisons are most certainly going to be made, and most likely to the more alternative group Fair to Midland, and the more metal group Protest the Hero, The Kindred have done a very good job establishing their own unique sound, drawing from various different styles, and utilizing their creative ambition to diversify their sound. This release is a very promising release by a band who will certainly have a polarized reception, and despite a few shortcomings comes across as an enjoyable progressive album that will challenge you with intricacies, as well as just make you lick your lips and the sheer enjoyment. I very much look forward to seeing this group perform, and continue making music in such an energetic and creative fashion. Bravo. Review by "jordanwagel" (www.sputnikmusic.com).

RATING:  7.75 / 10

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*. Tri Yann .*

Album: La Tradition Symphonique 2 (2004)
Genre: Prog Folk (Breton/Celtic Folk/Classic Music)  /  France

La Tradition Symphonique 2 is the fifth live album by band Tri Yann, released in November 2004. This album was recorded during the summer at Tri Yann concerts and the l'Orchestre National des Pays de la Loire (ONPL) in Nantes and Angers. These concerts were the last to Hubert Soudant, conductor of the ONPL. This album includes the compositions of the albums preceding "Le Pélégrin" and "Marines" as well as a few old songs.

Songs / Tracks Listing
01. Les Filles D'irlande
02. Gwerz Porsal
03. Marie-jeanne Gabrielle
04. Bro Gozh Ma Zadou
05. Korydwen Et Le Rouge De Kenholl
06. Divent An Dour
07. Sein 1940
08. La Geste De Sarajevo
09. La Complainte De Louis-marie Jossic
10. Lug (extrait)
11. Kan Ar Kann

Line-up / Musicians
Jean Chocun / vocals, mandolin, banjo
Jean-Paul Corbineau / lead and backing vocals
Jean-Louis Jossic / lead and backing vocals
Gerard Goron / vocals, drums, percussion, mandocello, etc
Jean-Luc Chevalier / acoustic and electric guitars, bass
Konan Mevel / pipes, veuze, northumbrian pipes, etc
Freddy Bourgeois / vocals, piano, keyboards
Christophe Peloil / vocals, violin, alto, fretless bass, etc

RATING:  7.5 / 10

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*. The Watch .*

Album: Tracks from the Alps (2014)
Genre: Prog Rock (Symphonic Prog)  /  Italy

The five piece Milan, Italian - based classic prog band The Watch is back with new music on their latest album release Tracks from the Alps, to coincide with their upcoming tour featuring Genesis' famous live Second's Out set. Tracks from the Alps is the band's fifth studio album, full of six original tracks, and a great cover of the Genesis Archive 1967-75 rarity, "Going Out to Get You". "A.T.L.A.S." opens with crisp morning guitar and Simone Rossetti's classic Peter Gabriel-like vocals, "Standing on the edge of nowhere. Feel the cool air. Blowing my hair. Future arrives on a song". Yes, that elation that you feel when you pop on a classic Genesis album and feel the past roaring forward into the future. The feeling that this classic rock never gets old. This is one of the best tracks on the album. Full of Mattia Rossetti's deep bass, plenty of Valerio De Vittorio's Hammond, mellotron and synths. Marco Fabbri's percussion and drum work adds thunder and power to Giorgio Gabriel's power guitar chords. Welcome back…indeed! "Devil's Bridge" is another powerful track with a message. Rossetti sings, "Take my tail. Tallest mountains. Imagery made of demons live". The guitar work from Gabriel will take you back to the Trespass Era of Genesis. The bass and drum work is solid supporting the wonderful guitar filling the air. As always De Vittorio's keyboard work brings you immediately back to all the great sounds you remember from Nursery Crime or Foxtrot. "The Cheating Mountain" may be the best track on the album. I've had the album less than a week and it was the first to truly grab and hold on. It opens with the sound of hiking through fresh snow on the mountains. Which is always a great place to start…especially if you've done as much hiking as I have. Town bells sound as the hiker climbs. De Vittorio's keyboard work creates an excellent soundtrack to the climb. Rossetti sings, "Welcome my old friend. It would be alright. The first drop of rain. Watch it come...Hesitation will seal your fate". De Vittorio's keyboard assault is atomic. Rossetti's rousing flute is another great surprise. "On Your Own" opens with deep keys reminding me of some of the band's earlier material from Ghost or Vacuum. Rossetti sings, "Right where you think. Planet's core. As you must know. Dip your brush. Deep as it goes. Preparing canvas for white snow. Get ready. Mountain peaks on your own. Face the day in a bright way. One day…suspended". Then he adds flute along with the magical keyboard, bass and guitar soundscape surrounding his inspiring vocals. Another of my favorite tracks on the album. One of the best things about this band is that they enjoy bringing classic Genesis tracks from the archives out into the full light of day with amazing improvements. They did it on their last album Timeless with their wonderful renewal of "In the Wilderness" and "Let Us Now Make Love". On Tracks from the Alps, The Watch performs "Going Out to Get You". The powerful organ De Vittorio opens with sounds warmer than the piano Genesis used on its demo recording on the Genesis Archive 1967-75 box set. The mellotron and organ are simply mystifying as is the thunder Fabbri brings on drums. Rossetti doesn't have as much venom in his voice as Peter Gabriel, however those keyboards and the menacing guitar work from both Gabriel and Rossetti's guitars more than create the mood to match the power of this often overlooked track. Keyboard wind effects and soft electric guitar chords open "Once in a Lifetime", like a breeze blowing snow off the top of a mountain. Rossetti sings, "Slipping away. I feel ok. It is cold outside. Sun in the sky. Another day. Mountains are my life". Another of my favorite tracks on the album. The keys, bass, and electric lead guitar fill the air with powerful melody. But this track is Rossetti's vocal showcase. "The Last Mile" is the longest track on the album at over seven and a half minutes. It opens with strong classic lead electric guitar melodies and Rossetti singing, "Austrian girl on a farm. Answers the door. Who can it be? Who wants me? In the last hour before dawn. Get out of your bed and hitch up the horse and let's go". "Only horse drawn wagon could cover the last mile. Glad to be alive". Yes, an epic story set to keyboards that will take you back along with the lyrics to a simpler time when there was time to enjoy the subtleties of life in full. Yet another powerful trip back and forward along the classic Genesis continuum. This band is now one of my favorites and definitely my favorite band covering Genesis classic music. This is the music that we who were old enough to appreciate it, in the late '60s and early '70s, remember. Take this latest trip back and forward with new music from The Watch. Close your eyes and dream of hiking in the boundless Alps with these classic sounding tracks. Review by "Mark Johnson" (www.seaoftranquility.org).

RATING:  8.75 / 10   **MARVELLOUS**

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*. Falena .*

Album: L'idiota (2013)
Genre: Prog Rock (Symphonic/Rock/Folk/Neo)  /  Italy

BIO: Il progetto sonoro Falena nasce nel 2003 dall'idea dei tre fondatori, Andrea Trinca (Basso), Emiliano Sellati (Testi – Voce) e Alessandro Fusacchia (Chitarre), di creare qualcosa che racchiudesse tutto ciò che li avesse musicalmente influenzati ed interessati, un sound di difficile collocazione generato dalle singole esperienze dei componenti del gruppo. Alternative – Rock – Progressive – Indie, sono alcune delle classificazioni date alla loro musica nel corso degli anni. La prima line-up dei Falena comprendeva oltre ai tre componenti già citati, anche Domenico Ferri alla batteria e Marco Rusigniulo alle chitarre, musicisti già attivi nella scena romana. Con questa formazione cominciano ad esibirsi dal vivo, maturando un percorso sonoro che li porterà a fine del 2006 ad entrare in studio di registrazione con l'intenzione di trasformare quanto ideato in qualcosa di tangibile. Nasce così ad aprile 2007, “Impressioni”, il primo lavoro dei Falena, totalmente autoprodotto. L'album viene messo online e tramite la piattaforma Myspace viene notato da un redattore di Prog Archives che ne fa una breve recensione ed inserisce il gruppo in una guida enciclopedica sul Rock Progressivo Italiano. Dopo il lavoro in studio ricomincia l'attività live con concerti in piazze e locali di Roma e provincia. Alla fine del 2007 Ferri lascia il gruppo per motivi personali e viene sostituito solo verso la metà del 2008 alla batteria da Rossano Acciari, con il quale la band ricomincia l'attività in studio, continuando esibizioni dal vivo in locali ed eventi dell'area romana. Ad ottobre 2009 i Falena girano a Napoli un videoclip promozionale con la M&M Italia. Alla fine del 2009 entra a far parte del gruppo Marco Peschi, musicista (Tastiere – Synth – Flauto traverso) e tecnico del suono, con il quale parte un'intensa attività di studio e ricerca e cominciano le registrazioni de “L'idiota”, secondo album del gruppo, uscito nell'agosto 2013, anch'esso come il primo totalmente autoprodotto. Verso la fine del 2012 Marco Rusignuolo lascia il gruppo per motivi personali e dopo una breve ricerca di un sostituto il gruppo decide di continuare la propria esperienza in 5, arrivando così alla formazione attuale. A dicembre 2013, i Falena per promuovere il loro ultimo lavoro “L'Idiota” vengono ospitati da Radio Libera Tutti, per un'intervista e l'ascolto di alcune tracce del loro disco. Mentre a gennaio 2014 vengono ospitati da "Radio Rock", una famosissima radio romana, per un live ed un intervista. La vita musicale dei Falena continua con concerti e promozione della loro musica e con un'intensa attività di scrittura e stesura di materiale che farà parte del prossimo album della band, e di un progetto molto ambizioso: “Frankenstein Opera Rock”... (www.facebook.com)

RATING:  7.75 / 10

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*. Heldon .* (SHM-CD Japan Remaster + Bonus)

Album: Interface (1977)(SHM-CD Japan Remaster 2012 + 2 Bonus)
Genre: Prog Electronic (Exp./Krautrock/Jazz/Synth)  /  France

I really didn't think I would find a HELDON album that I would like better than "Stand By". I would suggest getting them both as these are two of the best albums I have heard from the Electronic genre. Of course Pinhas' guitar style has a lot to do with why I love this band so much. I'll also mention Auger who at times makes me laugh with joy at the way he plays his drums. Patrick Gauthier is the third and final member of the band on this recording, he plays both moog bass and mini-moog. Of note my version has three bonus songs on it that aren't tacked on the end, but are tracks 3, 6 and 7. "Les Soucoupes Volantes Vertes" has this relentless rhythm of drums and moog bass, while Pinhas adds moog III & moog b. A constant beat for 2 1/2 minutes to open the album. "Jet Girl" opens with electronics and the drums are cool as they are all over the place.The guitar meanwhile is doing it's own version of "scorched earth policy". The song calms down 5 minutes in but is still powerful, just slower. The guitar is crying out like a caged animal. "Le Retour Des Soucoupes Volantes" is one of the bonus songs and it sounds amazing with the electronic sounds,mini-moog and drums. "Bal-A-Fou" is an Auger composition like the first track was. Lots of atmosphere as strange spacey sounds fill the air. Auger is on synths as well as drums and percussion on this song. No melody until 3 1/2 minutes in as the drums and mini-moog provide that. The bass is prominant 5 minutes in from guest player Didier Batard. A very cool sound for the last couple of minutes. "Le Fils Des Soucoupes Volantes (Vertes)" features powerful guitar and drums.This is killer ! Way too short though. The next two songs are bonus songs "Interface-Live (Part !)" and "Interface-Live (Part 2)" recorded in Paris, France in 1978. The first has a mechanical sound to it with Auger playing synthesized percussion.3 1/2 minutes in the drums start to rise above the mechanical rhythm,but it fails. The guitar comes in and succeeds in overcoming the beat with monster-like sounds. The drums then start to become more powerful with random patterns. This continues into part 2. The drums are getting stronger,what an incredible sound as the guitar continues to cry out. "Interface" is the 19 minute finale. It starts with the same theme of synthesized percussion which really goes on for too long for my liking, although some drums and electronics are mixed in fortunately. 8 1/2 minutes in the guitar arrives with some angular melodies. The drums are fantastic ! Great sound 12 minutes in. The intensity is rising if that's possible. The guitar solo to end it is shocking. Where did that come from? There isn't a song on here I don't like. I'm not sure how many people out there will like HELDON's music, the way he mixes electronics with fantastic drumming and guitar playing. I'm looking forward to listening to their fifth release, as I continue to explore HELDON albums from the newest to the oldest. 

Review by "Mellotron Storm" (Prog Archives).

RATING:  7.75 / 10

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*. Amenophis .*

Album: Time (2014)
Genre: Prog Rock (Symphonic Prog)  /  Germany

AMENOPHIS is a very interesting German Progressive rock band led by brothers Stefan & Michael ROSSMANN. Recorded in 1983, their eponymous album shows a truly refined music, emphatic atmospheres full of rhythm changes. There we can hear a blend of Steve HACKETT, GENESIS and CAMEL's best productions: a quiet, romantic and lyrical music... The booklet of the Musea reissue includes a biography, archives and the integral lyrics. As a bonus, the album also has five previously unreleased tracks recorded that same year: an occasion to wander as a virtual tourist in the streets of Paris. After their first album's success, this German band added an excellent woman singer to its members, in order to record "You And I" (1991). "Time" is their brand new album from 2014. To be rediscovered without delay! (www.musearecords.com)

Songs / Tracks Listing
01. The Overdue Overture
02. The Sandglass Symphony
03. Some Times
04. Mrs. April McMay
05. You
06. Intermission
07. The Puppet Master
08. The Wheel of Time
09. Prologue. Coming Home
10. Avalon (I. The View/II. The Journey/III. On The Isle)

Line-up / Musicians
Kurt Poppe / organ, piano, synthesizer & bass pedal
Wolfgang Vollmuth / bass guitar, acoustic guitars & vocals
Michael Roessmann / lead guitar, acoustic guitars & vocals
Karsten Schubert / drums & percussions

RATING:  7.75 / 10

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*. Contemporary Dead Finnish Music Ensemble .*

Album: Dark Matters (2014)
Genre: Prog Rock (Symphonic/Eclectic/Neo/Pop)  /  Finland

Songs / Tracks Listing
01. White Shadow (6:20)
02. Black Mist (14:03)
03. Black Monk (13:54)
04. Dark Passenger (13:34)
05. Transcend Chemistry (4:40)

Line-up / Musicians
Katja Sirkiä / Vocals
 Antti Pesonen / Guitar, Keyboards, Programming & Soundscapes
Pate Kivinen / Hammond Organ & Moog Minimoog
Qumma / Warr Guitar
Eero Uurtimo / Bass
Tuomo Lassila / Drums, Acoustic & Electric Percussion

Mikko Jokinen / Vocals
Minja Aho / Backing Vocals
Leevi Pesonen / Voice
Janne Murto / Tenor Saxophone

RATING:  ?????????????

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*. Unkh .*

Album: Traveller (2014)
Genre: Prog Rock (Alternative/Crossover)  /  Netherlands

Unkh is a progressive indierockband with a mashup of electrorock, eighties wave and seventies progrock. How does a mashup of contemporary alternative rock and seventies progressive music sound like? The answer is: Unkh. Unkh consists of four Dutch seasoned musicians who have put this idea into their 2014 album: 'Traveller'. They have already performed this album live at multiple festivals and stages in front of bewildered audiences. Think melodic vocals, raw guitar riffing, analog synth sounds, thundering basslines and solid beats. Think Unkh! (www.facebook.com)

Songs / Tracks Listing
01. Barfly's Last Cigarette
02. Fast Food for the Common Man
03. Borderlines .Ca
04. Crimson Oceans
05. Breathe
06. Sur Place
07. Theme of the Mighty Mushroom
08. The Water Carrier
09. Borderlines .Fr
10. Your Own Graceland

Line-up / Musicians
Jeroen Habraken / vocals, keyboards, guitars, programming
Frits Appel / guitars, vocals
Maarten Habraken / drums, vocals
Matthijs van Nahuijs / bass, vocals

RATING:  ?????????????

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*. Peter Berkow & Friends .*

Album: Faculty Recital (1976)
Genre: Prog Rock (Jazz/Funk/Psych/Folk)  /  USA

Songs / Tracks Listing
01. Spiritual Rebate - Part One
02. Spiritual Rebate - Part Two
03. Halflife - Part One
04. Halflife - Part Two
05. Halflife - Part Three
06. Credit Card Blues
07. Liquid Smog
08. I Run Too
09. Coda: As The Planet Explodes
10. Sometimes My Life
11. Street Jam

Line-up / Musicians
Peter Berkow / Vocals, Acoustic Guitar, Electric Guitar, Synthesizer, Harmonica
Paul Abrahms / Bass
Randy Mason / Congas, Percussion
Mark Williams / Drums, Percussion
Joe Hougnon / Electric Guitar
Charlie Haynes & Ylonda Nickell / Saxophone, Flute

RATING:  7.5 / 10

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*. The Smell of Incense .* (Re-Post)

Album: A Curious Miscellany (2010)
Genre: Prog Folk (Psych./Prog Rock)  /  Norway

As advertised, this album is both a bit curious and is filled with a miscellany of Smell of Incense recordings. Those who are familiar with the band won't find a lot new here. For those not into them, understand that the band makes mostly poppish pysch music that tends to be heavy on covers of obscure sixties psych one-hit wonders. That and occasionally they throw in some recorded sounds, synth or drone just to mix things up. In all their music is entertaining when they are on their game, and mildly annoying when they aren't. You take the good with the bad. The opening track gave the band their name, and comes courtesy of sixties nut-job Bob Markley and guitarist Ron Morgan of the West Coast Pop Art Experimental Band. "Smell of Incense" was also a minor hit for a band named Southwest F.O.B., a Texas-based pysch group best known for launching the late Dan Seals and John Colley, the duo who later achieved major commercial success as the soft-rock duo England Dan and John Ford Coley (remember "I'd Really Love to See You Tonight"?). Of the three versions I like this one best, mostly because it benefits from modern production (both the original and F.O.B. versions were recorded in the sixties). Also, as with so much of their music Smell of Incense have this way of taking rather dated psych guitar chord progressions and presenting them in a new light, vibrant and accessible as opposed to the sometimes turgid fuzz guitar sounds that dominated late sixties psych music. "Why Did I Get So High?" is another cover tune from 1967, in this case from Peanut Butter Conspiracy, another band nearly lost to history but who comes up in trivia settings from time to time for having given Jefferson Airplane their drummer (the late Spencer Dryden) after Skip Spence went wacko. In this case the original is a better tune as it was (at the time) a rather serious psych anthem while the Smell of Incense take appears to be somewhat tongue-in-cheek. This was the band's second single back in the mid-nineties, appearing on that disk with Fifty-Foot Hose's "If Not This Time" and "Coming Down", a tune recorded by the United States of America for their seminal self-titled album. "Coming Down" also appears on this compilation (an extended version, not the one from the original Smell of Incense single), and is another case of a decent cover but not up to par with the original which was penned by psych icon Joe Byrd. Anyone who's ever tripped out to the United States of America album would almost surely agree. "I Wanna Live in the) Golden State" is one of two original compositions for the band, and along with "Christopher's Journey" (both appear here) were among the band's first serious demo recordings in the early nineties. Both are decent but with fairly sparse production and clearly not of the caliber of most of the songs they cover here. Neither lives up the band's potential either; the band would deliver a much-improved version of "Christopher's Journey" with more complex percussion and stronger guitar work for their debut full-length album, 1994's "All Mimsy Were the Borogoves". And speaking of that album, the next track "Witch's Hat" appears there as well, this is a Robin Williamson composition (Incredible String Band), written for their landmark 1968 album 'The Hangman's Beautiful Daughter'. Nobody can adequately cover Williamson, although again the newer production qualities of this version make it memorable, and the female lead vocals from Bumble B offer a pleasantly different take on this heavily folk- influenced tune. Next up is another obscure one-off, this one courtesy of sixties San Francisco garage-rock cult band William Penn and His Pals. Written by their guitarist Mike Shapiro, "Swami" was the band's only single in their short-lived existence, and once again the band was left to wallow in music trivia limbo while one of its members went on to fame and fortune elsewhere (keyboardist Gregg Rolie, who would score a gig with Santana before cashing in big-time with seventies crotch rockers Journey. Merrell Fankhauser wrote "A Visit With Ashiya" and recorded it with H.M.S. Bounty in 1967. Fankhauser is another in a long line of odd characters that seem to have found their way into Smell of Incense' consciousness, or at least into their record collection. He would go on to appear with Fapardokly and Mu (along with Jeff Cotton of Captain Beeheart fame) before dropping out for an extended (30-plus years) trip in Maui. This version comes from another Incense single, the same one they used to issue their namesake song in 1994. Here the band plays it fairly straight as psych numbers go, with fuzz guitar aplenty and Bumble B sounding pretty tripped out, especially for someone who missed the height of the flow-power days by at least a generation. For a change of pace "Varulv" is a traditional Norwegian folk tune, performed by Bumble B on her 2003 solo album 'Flight of the Bumble B'. While this is a folk tune the arrangement features snare drums, electric guitar and keyboards, giving it a modern touch and some pretty decent production. Her solo album is kind of hard to find, but if you get the chance to pick it up I'd highly recommend it, particularly for those who are prog folk fans. Probably the most obscure cover on the album is the heavily tripped-out "Tread Softly on my Dreams" from the almost completely forgotten British act Czar. I've never heard the original by band bassist Paul Kendrick, but I can imagine it was deep stuff for its day. This version sounds every bit like something that was recorded in 1969 with spacey vocals, erratic tempo shifts and brooding keyboards. Torch one up before you spin this track for sure! Finally, the album closes with "I'm Allergic to Flowers", a rather silly tune by Dave Burgess and originally recorded as a single under the faux studio-group name 'Jefferson Handkerchief'. I've never seen this on a proper studio album, but it appears on all kinds of b-list sixties compilations that have been released over the years. This one is pretty light and silly, and makes for a nice closing touch to a thoroughly enjoyable album. Smell of Incense are a bit of an enigma, with records that are hard to find and an incredible range (from awful to awesome) in their recorded output. This collection makes for a very decent anthology of the band, although I personally would have loved to have seen at least one track from their best studio work 'Through the Gates of Deeper Slumber', which features not only the band at their best, but also several original compositions. No matter, 'A Curious Miscellany' is worth hunting down and adding to your collection if you are a student (or fan) of vintage psych pop, or really if you're just looking for something fun to occupy an hour of your time. Four stars (out of five) and well recommended. Review by "ClemofNazareth" (Prog Archives).

RATING:  8.5 / 10   **MARVELLOUS**

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*. Margo .*

Album: Margo (1981)
Genre: Jazz Rock Fusion (Funk/Soul/Pop)  /  Germany

Songs / Tracks Listing
01. Goodbye Martin
02. No Return
03. Gulp
04. Elegie
05. Don't Be Cool
06. Windsurfer
07. Fourtyniner
08. Kinderlied

Line-up / Musicians
Andreas Hommelsheim / keyboards
Else Nabu / vocals
Joachim Gorr / guitar
Ulli Moritz / drums, percussion
Dieter Bauer / bass
Richard Wester / saxophone, lyricon, flute

RATING:  7.75 / 10

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*. 25 Yard Screamer .*

Album: Something That Serves to Warn or Remind (2013)
Genre: Prog Rock (Neo/Crossover/Prog Metal)  /  UK

Songs / Tracks Listing
01. The Lost Outside / Welcome to Here
02. The Ritual
03. Wilderness
04. Always There
05. Lost in a Green and Blue Sky
06. The Journey
07. Home Is Not Home
08. The Empty Ship
09. Just Myself and These Keys

Line-up / Musicians
Nick James / guitars, keyboards, vocals
Matthew Clarke / bass
Donal Owen / drums
With:
Tom Bennett / Orchestrations, keyboards

RATING:  ??????????????

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*. Lee Abraham .*

Album: Distant Days (2014)
Genre: Prog Rock (Neo/Crossover/Metal)  /  UK

"Distant Days" contains seven new songs - two of them stunning epic tracks, featuring guest performances from Karl Groom (Threshold/Shadowland), Dec Burke (Darwin's Radio/Frost*/Brave New Sky/Solo), Marc Atkinson (Riversea/Nine Stones Close/Mandalaband/Solo), John Young (The John Young Band/Lifesigns) and Steve Thorne (Solo).  Lee, former bass player with UK prog band Galahad, was also joined by longtime musical collaborator Gerald Mulligan (Credo) on drums, and other members of his core live band Chris Harrison on guitars, Alistair Begg on bass/Chapman Stick and Rob Arnold on keyboards. Jon Barry and Simon Nixon added their guitar talents and Lee was delighted to welcome Robin Armstrong (Cosmograf) on acoustic guitar and Dave Phillips on backing vocals. "Distant Days" spans 60 minutes of new progressive music, covers lyrical topics such as childhood, the oppression of Government authority and the cause of the recent global recession.
Lee says: "Some of the lyrics may sound heavy going, but I wanted to cover subjects that everyone could relate to, especially here in the UK. Recently, we have had a lot of scrutiny of our Government's behaviour and how it goes about governing us. I also take a look at the financial institutions that are also largely to blame for the recession we're just trying to sort out. But rest assured, there's happy stuff in there too!". Growing as a song-writer and producer, Lee has again called on the prog world to guest on his album to help bring the songs to life. Lee continues: "I am a firm believer in making sure the songs have the best chance to sound great, so that means bringing in the right people to add their talents. All the guests were carefully hand-picked and in some cases, the songs were written with the guest in mind." Benefiting from Lee's strong production, the album was again recorded and mixed by him at his Dockside Studio in Southampton, England. Lee is hoping to take the album out on the road in 2014/15 to give the songs a live airing at festivals and live venues across Europe. (www.leeabraham.co.uk/)

RATING:  8.25 / 10

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*. Changes .*

Album: Some More Changes (1980)
Genre: Jazz Rock Fusion (Contemporary Jazz)  /  Germany

Songs / Tracks Listing
01. Akiko
02. Hautkontakt
03. Blues Open
04. Last Chance
05. Kenny Make It
06. Yaiza

Line-up / Musicians
Wolfgang Engstfeld / Saxophone
Uli Beckerhoff / Trumpet, Flugelhorn
Ed Kröger / Piano
Detlef Beier / Bass
Peter Weiss / Drums

RATING:  7.25 / 10

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*. Carlton Melton .*

Album: Four Eyes (2013)(Ep)
Genre: Psychedelic Space Rock (Jam Band/Exp./Drone)  /  USA

Songs / Tracks Listing
01. Personal Space (9:48)
02. Road Swagger (6:04)
03. Glass Home (10:55)
04. Mist (6:52)

Line-up / Musicians
Clinton Golden / bass
Brian McDougall / drums
Andy Duvall / guitar
John McBain / guitar, synth
Rich Millman / guitar, synth

RATING:  ??????????????

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*. Vanden Plas .*

Album: Chronicles Of The Immortals, Pt. I: Netherworld (2014)
Genre: Prog Metal (Melodic/Symphonic Metal)  /  Germany

Four years after the release of The Seraphic Clockwork, German progressive metallers Vanden Plas are back with their seventh full-length Chronicles of the Immortals – Netherworld. Known for creating highly detailed conceptual albums, in 2012 the band teamed up with Germany’s one of the biggest selling authors Wolfgang Hohlbein to create a rock opera for the stage based on his The Chronicle of the Immortals series of novels. The resulting rock musical named Bloodnight ended up having 25 sold-our performances during the 2012 and 2013 seasons. The next challenge for Andy Kuntz and Vanden Plas was to adapt the theatre musical to the Vanden Plas standards and produce an album comprised of the first act of Bloodnight. Chronicles of the Immortals – Netherworld – Path 1 is a full title of the record that includes ten songs. The release of Path 2, the final part of the story will be released early in 2015. Musically speaking, since the release of their debut Colour Temple Vanden Plas continued to mature and improve – eventually hitting the top with 2006′s Christ 0. However, Netherworld proves to be the band’s most demanding release. In most cases, the problem with conceptual albums is that the music suffers the lack of quality on behalf of the actual story or opposite, but Vanden Plas relying on experience forged a record that possibly may serve as a light of hope for progressive metal in 2014. One of the biggest differences between this one and the previous Vanden Plas efforts lies exactly in the theatrical atmosphere Netherworld brings. Although it can be said that the visual factor is on par with music on almost every Vanden Plas album, it’s Netherworld that stands out for the balance between the two. Heavily rooted in the progressive metal genre with plenty of melodic lines on top of it, the whole story is dependant to Kuntz‘s interpretation and singing. The album flows as a single song, although it’s divided into ten songs (visions) what ultimately brings to mind that these ten titles are there just to separate the distinctive parts or moods of the whole story. These parts are pretty well balanced, the story dynamic follows the music. And what is perhaps most important for a progressive metal album today – it incorporates a number of different elements. Three crucial segments for a Vanden Plas album are strong melodic side, progressive metal and conceptual story. And these three segments are present on Chronicles of the Immortals – Netherworld. In which measure, time will be the best judge. Review by "Nikola Savić" (www.prog-sphere.com).

RATING:  ??????????????

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*. ROZZ .*

Album: Prüfungsangst (1980)
Genre: Jazz Rock Fusion (Soul/Funk/Prog Rock)  /  Germany

Both Rozz albums are well played fusion with a focus on the guitar work, as was typical from this era of German jazz rock. Excellent playing all around and features a fine production. Reference groups would be Return to Forever or Weather Report, or for local flavor - Syncrisis or To Be. Review by "ashratom" (Rate Your Music).

Songs / Tracks Listing
01. Prüfungsangst (Jörg Kleine-Tebbe)
02. Omnibass (Knut Jens/ROZZ)
03. George Benson am Stutti in der Atlantis Bar (Jörg Kleine-Tebbe)
04. Rozz around Kreuzberg (Wolfgang Müller/ROZZ)
05. Ab wie die Feuerwehr (Jörg Kleine-Tebbe/ROZZ)
06. Madow um halb zwei (Jörg Kleine-Tebbe)
07. Checkpoint Charly (Knut Jens)
08. ROZZ (Jörg Kleine-Tebbe/ROZZ)

RATING:  7.25 / 10

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*. A.C.T .*

Album: Circus Pandemonium (2014)
Genre: Prog Rock (Eclectic/Symphonic/Metal)  /  Sweden

Songs / Tracks Listing
01. Intro
02. The End
03. Everything's Falling
04. Manager's Wish
05. A Truly Gifted Man
06. Presentation
07. Look At The Freak
08. Argument
09. Confrontation
10. A Mother's Love
11. The Funniest Man Alive
12. Scared (Japanese bonus track)
13. A Failed Escape Attempt
14. Lady In White
15. Freak Of Nature

Line-up / Musicians
Jerry Sahlin / synthesizers
Ola Andersson / electric and acoustic guitars
Peter Asp / bass guitar
Herman Saming / vocals
Thomas Lejon / percussion

RATING:  8.75 / 10    **GREAT**

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*. The Experiment No.Q .*

Album: The Experiment No.Q (2014)
Genre: Prog Metal (Prog Rock)  /  Multi-National/Italy

The Experiment No.Q is a music project written and directed by Paolo Vallerga (No.Q). An Experiment with different professional musicians from all parts of the world, with different styles, different music background and personality. The Experiment No.Q is a complicate attempt to mix different creative worlds, apparently unrelated, an alchemical experiment with musicians who have never played together, having just one point in common: No.Q. The project will be released the 19th September 2013. All the songs and lyrics, written by Paolo Vallerga (with the help in some parts of Roberto Grassi, Emanuel Victor and Alberto Giovannini Luca) was recorded at AenimaRecordings studio in Cavagnolo (Italy) in one week when musicians shared experience and emotions, working togheter. (www.facebook.com)

Songs / Tracks Listing
01. Enter Number Q
02. To The Wise And Understanding Reader
03. Unpainted Leaves
04. Romantiquesque
05. The Dream Of The Whales
06. The Ship And The Poet
07. The Black Horizon Of The Monodist
08. Labyrinths
09. The Testament Of Cremer
10. Il Comandante

RATING:  ??????????????

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*. Ilian .* (Reissue)

Album: Love Me Crazy (1977)(Reissue 2011)
Genre: Prog Rock (Pop/Rock/Psych/Folk)  /  USA

This is a very hard to find album of Ilian's only album. It is a wild mixture of rock, psychedelic jazz and even a downer folk track. Much sound like demo stuff but this fuzz guitar dominating album is definitely worth checking. First time on CD! (www.recordheaven.net)

Songs / Tracks Listing
01. Hey Denise
02. See What You Can See
03. Love Me Crazy
04. Sometimes
05. Saturday Song
06. Grease Lips
07. Wildman
08. Tell Me
09. Let The Sunshine Thru

RATING:  7.5 / 10

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*. Présent .* (Remaster 2014 + Bonus CD)

Album: Le poison qui rend fou (1985)(Remaster 2014 + Bonus Live CD)
Genre: Prog Rock (Rio/Avant Prog/Rock in Opposition)  /  Belgium

Present's second album is a bit more of the same than its debut: dark, sombre, macabre , sinister and one can say gothic in a way (although I have never seen Gotheads present at their concerts ;-). The group comes back with a slightly changed line-up: Ferdinand Philippot is now handling the bass duties, but the change is minor. The artwork is plainly sinister but with a touch of romantic inspiration and fits the music quite well. Starting of with an epic 15 min+ first part of the title track, featuring an operatic-voiced guest vocalist, Present plunges again on a metronomic groove with the two pianos helping out a great deal and a lenghty trip is undertaken through the insane meanders of Trigaux's mind. A shorter Ersatz is reminiscent of Belew era-Crimson, and definitely more upbeat and almost joyful compared to the habitual stuff. The almost 10 min second part of the title track (on the second side of the vinyl), is the logical follow-up to its debut, but is totally instrumental. The closing 9 min Samana (Rochette-penned) is not much different but not quite as dense and might be a little clumsy in its middle section, but it remains in the mould. Not an easier than the debut album, and just as difficult to recommend, these first two albums are uncanny oeuvres that must be heard by every proghead, but most likely, if they do not like adventurous and partially un-melodic prog, repulsion or rejection will be an understandable reaction. But if the proghead should persevere with present, soon the full merits of the music will come rewardingly. Both albums now come on a 2 on 1 Cd, which is probably the safest bet you can make as acquiring both albums separately will not bring much more. This will be the last album from them for over 12 years, when Trigaux will start playing with his son then reform Present. Review by "Sean Trane" (Prog Archives).

RATING:  8.25 / 10

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*. Deluge Grander .*

Album: Heliotians (2014)
Genre: Prog Rock (Symphonic Prog)  /  USA

Songs / Tracks Listing
01. Ulterior (14:03)
02. Saruned (5:02)
03. Reverse Solarity (21:32)

Line-up / Musicians
Christopher West / Bass, Flute, Vocals, Ressikan Flute
Cliff Phelps / Guitar, Vocals
Dan Britton / Fender Rhodes, Vox, Mellotron, Hammered Dulcimer, Acoustic Guitars
Megan Wheatley / Vocals
Natalie Spehar / Cello
Patrick Gaffney / Drums

RATING:  8.25 / 10

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*. The Space Spectrum .*

Album: The Red Eyed Queen (2014)
Genre: Psychedelic Space Rock (Jam Band/Exp./Krautrock)  /  Germany

There are two major trends in space rock since 1989. First is that much of it has turned simpler and heavier, oriented towards pulsating stoner music. Second is that part of it has gotten trippier by expanding considerably the psychedelic /jam side of the genre since the 70s, though at root very little of it diverges that fundamentally from what  Hawkwind/Gong/Ash Ra Tempel  etc. were doing in the era. SPACE SPECTRUM sit definitely in the second category. They are a relatively new band from Germany that had at their earlier stage a substantial output on Bandcamp as a one-man project behind guitarist Nico Seel. At their current stage, "The Red Eyed Queen" is their first album as a real 4-piece band and we are proud to be the label that releases this milestone to their career. The record features SPACE SPECTRUM on a mammoth trip rock opus that spans both sides of the vinyl. By listening to the band channelling their awesome mind melting spaced out tones into a cohesive ensemble, one can’t deny the influence of the early 70s acid rock vibe. There are the obvious nods to the kraut gods, zoned in on the more jam aspects of cosmic kraut bliss and taking the music way out there into Ash Ra Temple-sque jamming blow out territory. Over a magic carpet of spacious keyboards and below the bass rumble of the spaceship, the guitar wanders in real outer cosmos, transporting us through the heavenly constellation. The result is a full-out attack on the trippier aspect of space rock, a bit brutal in his modern approach (under a creeping Cosmic Dead influence) but also very far-out, when moving to outer dimensions. SPACE SPECTRUM took creatively the floating aspects of the 70s space rock formula and adopted it to rock styles that occurred in the 90s and onward. "The Red Eyed Queen" is a true cosmic winner and is not to be missed! And a final note: The clear vinyl of the coloured edition was chosen by the band as homage to Faust's debut. We cannot think of everything most suitable. (http://cosmiceyerecords.blogspot.com.br)

RATING:  ???????????????

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*. Jeff Green Project .*

Album: Elder Creek (2014)
Genre: Prog Rock (Neo/Crossover/Melodic Rock)  /  Ireland/USA

Songs / Tracks Listing
01. Theseus Falls (8:18)
02. Elder Creek (5:09)
03. Our First Meeting (7:53)
04. Point Blunt Light (6:25)
05. Gordian's Knot (6:30)
06. Loops And Threads (4:19)
07. A Long Time From Now (20:05)

Line-up / Musicians
Jeff Green / Electric & Acoustic Guitars, Mandolin, Synthesizer, Vocals, Programming
Mike Stobbie (ex-Pallas) / Keyboards
Pete Riley (Wetton & Downes Icon, Keith Emerson) / Drums
Andy Staples / Bass
Garreth Hicklin / Lead and Backing Vocals
Imogen Hendricks / Backing Vocals
With:
Phil Hilborne (Brian May, Glen Hughes, Keith Emerson, Steve Vai) / Guitar
Alan Reed (ex-Pallas) / Vocals on A Long Time From Now
Sean Filkins (ex-BBT) / Vocals on Elder Creek

RATING:  ???????????????

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*. Papir .*

Album: Papir IIII (2014)
Genre: Psychedelic Space Rock (Jam Band/Exp./Post Rock)  /  Denmark

Papir are the Danish instrumental trio of Nicklas Sorensen on guitar, Christian Becher Clausen on bass, and Christoffer Brochmann Christensen on drums. IIII is their (surprise!) fourth album and the follow up to last year’s III, with an excellent collaboration album with Germany’s Electric Moon titled The Papermoon Sessions falling in between. The album consists of four tracks, all numbered rather than named, and is around 47 minutes in length. Three of the tracks feature a gorgeously, psychedelically melodic Papir, with both the guitar and bass laying down uplifting parallel melodies. In fact, the bass focus on melody often leaves drummer Brochmann as the principle rhythmic driver, a task he handles like a skilled navigator. I love the way the band sweep the listener along like cosmic pied pipers, falling somewhere on the dreamy psychedelic/Shoegaze axis, and oh so gradually building up to periodic acid-stoned blasts of heavy rock. My “holy shit”!! favorite track of the set is the 22 minute epic third cut. Much of it brings to mind a convergence of Ash Ra Tempel and the Grateful Dead, injected with a magical jazz and dance groove serum. Sorensen’s guitar trips along in killer jamming space while Brochmann pounds away relentlessly, and Clausen’s bass leads at times are so low end and penetrating that I wonder if he’s preparing for a spot in a new lineup of Magma. There’s lots happening here and what starts off with an improvisational feel slowly builds up to a monstrously shattering, tightly arranged psych-prog rocking tour de force. All in all we’re treated to high energy rock, mystical lysergic enchantment, and cool grooving improvisational wonder, all wrapped up in one spellbinding magic carpet ride. I can easily see Papir appealing to a variety of psychedelically inclined audiences. On the one hand they are tailor made for fans of extended improvisational excursions, the likes of which made them such an appropriate pairing for Electric Moon. The Shoegaze crowd would surely dig them, though there’s far more activity and elusive sophistication in Papir’s constructions than the typical Shoegaze band. I also see the Godspeed/Sigur Ros crowd enjoying Papir. Papir rocks harder than either of those bands, but what they share in common is the slowly developing, majestic soaring reach of their music, and a cinematic sense of heartfelt passion. This will be the first entry in my Best of 2014 list. Review by "Jerry Kranitz" (http://aural-innovations.com).

RATING:  7.5 / 10

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*. Irminsul .*

Album: Geist (2014)
Genre: Hard Rock (Soft Prog Rock)  /  France

The french power trio IRMINSUL returns with “Geist”, the second opus of the band. The symphonic instrumental piece “Ouverture” is a prelude to 10 new songs which remain in it lined by his predecessor “Ainsi soit-il”, while privileging a side more Heavy and more Progressive. The topics approached remain multiple and varied without falling in the stereotype. It should be noted that the eponymous title “Geist” was the object of a clip written, turned and produced by their friendly film-maker Benjamin Untereiner. The battery of Claude “Takko” Finet gives in the effectiveness and technicality, the Bass of Pascal Borniche, combining feeling, groove and searches harmonic, made wonders, and Guillaume “Goyon” Coulon decorates the whole of its catchy riffs of guitar, its effective solos, but also an even more worked and more powerful voice. (www.brennus-music.com)

Songs / Tracks Listing
01. Ouverture
02. Sage
03. Je Ne Te Dois Rien
04. Le Monstre
05. Verden
06. Geist
07. Les Oubliés des Dieux
08. Le Radeau
09. Divine
10. Rumeurs
11. J'en Reste Là

RATING:  6.5 / 10

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