*. Bacio di Tosca .*

Album: Hälfte des Lebens (2010)
Genre: Neo Classic (Darkwave/Gothic)  /  Germany

The third album from founder of BACIO DI TOSCA Dörthe Flemming, this is no less spectacular than the others and is certainly something to tell the world about as, as albums go they don't come much more accomplished and inspired than this. This very beautiful album begins in gentle operatic style with 'Das Herz ist mir bedrückt' before wandering to a dark electronic feel that's very disturbing in its intensity making this an interesting welcome to the album. The album titled track 'Hälfte des Lebens' again starts with what could take for high opera before going off in more or less the same vein as the first. This combination works beautifully and leads us to the interesting waltz that is 'Lamentationen' and very different in favour to the inaugural tracks. It has everything, a deeply disconcerting childlike rhythm, gorgeous, effortless vocals and clashing symphonic instruments behind a music box sound that really makes this track stand out. 'Ist mancher so gegangen' begins with the sound for children playing and is a straight and sombre demonstration of fantastic vocals, with no cleverness, no tricks, no smoke, no mirrors, just a simple and unforgiving showcase of this remarkable singer's talents. 'Himmelstrauer' with it's mournful cello and piano is a master class in melancholy whilst 'Vergebens' is back to creepy Electronica but no less good for it. The diversity of this album is incredible and 'Der Schmerz' is another subtle and wonderful exploration of human pain and suffering in the most heartbreakingly gentle way. 'Rüchgedenken' gives us more high opera, this time simpler, no Electronica whilst 'Gestutze Eiche' would stand alone as an instrumental in its haunting beauty were it not for yet more exemplary vocals. 'Reue' and 'Ich war einmal' are almost polar tracks, the former being more staid and resolute in feel whilst the latter is a wandering and indulgent meandering track, full of atmospheric reverb and emotion. 'Verborgenheit' starts with a simple xylophone and cello, as if by a child, before elaborately criss-crossing and making way for a strong and dominant vocal that holds it all together beautifully. 'Der Weihe der Nacht' is a lovely penultimate track, but they have it absolutely right in leaving 'Maria durch ein Dornwald ging' until last. It's purely breathtaking in its slightly medieval style and the simplicity of it's arrangement and a truly love ending to what has been one of the best albums I've ever reviewed for sheer technical excellence and all round gorgeousness. Review by "Maddi Isaacs" (www.reflectionsofdarkness.com).

RATING:  7 / 10

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*. Francis Lickerish .*

Album: Far And Forgot - From The Lost Lands (2012)
Genre: Prog Rock (Symphonic/Folk)  /  UK

FRANCIS LICKERISH is what anybody will call a renaissance man, after his successful experience as composer, guitar and lute player in the cult band THE ENID, changes the stage for the university graduating as therapist pursuing a successful career as counselor, group therapist, workshop leader and trainer, working with a very broad client base that includes street drinkers, criminals, film stars and royalty. But the music always remains in him using it as part of his therapy, and in 2009 surprises the Prog commute when as a member of SECRET GREEN releases the amazing "To Wake the King", clearly oriented towards Prog Folk. When everybody expected more albums from this band FRANCIS LICKERISH releases his first solo album called "Far And Forgot - From The Lost Lands" which was supposed to be a sequel of To Wake The King, but instead he combines a lifetime experience clearly oriented towards Symphonic Prog and Neo Classical with an evident influence from THE ENID. After a few discussions, the Symphonic Team decided to include Francis in our database, because the extreme beauty and elaborate arrangements of the five tracks (specially the 26 minutes multi-part epic "The Disenchanting") and the evident reminiscence of THE ENID, makes of "Far and Forgot - From the Lost Lands" a great addition for any fan of the genre. "Iván Melgar" (Prog Archives).

RATING:  8 / 10

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*. Daniel Gauthier .*

Album: En ce jour et pour toujours (1997)
Genre: Prog Rock (Symphonic/Neo Prog)  /  Canada

Songs / Tracks Listing
01.Real Love
02.Evening Of A New Romance
03.Salut Jean-Louis
04.Nous Deux, Eux Seuls
05.Le Plafond de Miroir
06.Silent Years
07.Derrière le Masque

Line-up / Musicians
Daniel Gauthier / vocals, all instruments
Richard Bergeron / drums

RATING:  7.25 / 10

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*. Sammal .*

Album: Sammal (2013)
Genre: Prog Rock (Psychedelic/Exp./Metal)  /  Finland

If there are two words that describe this album, they are ‘cool’ and ‘vintage’. Every aspect of this album is dripping with both. Subtly combining classic rock sounds with the grandeur of 70s prog rock peppered with the psychedelic residue of the 60s, Finland’s Sammal have a penchant for melody, powerful rock riffs, and brooding and fragile atmospheres. Saturated in bluesy guitar work, driving riffs, impassioned vocals, and heart-rending Hammond, every track is laced with a cool groove and a bunch of catchy melodies that’ll have you enthralled.
Opener ‘Puolikuu’ calls to mind the 70s classic rock-tinged grooves of Sweden’s Graveyard and Witchcraft. The delicate clean guitar of ‘Esox Lucius’ shimmers against the jewel-like keys and the subtle drum-work and gentle splash of the cymbals before the cool riffs and irregular vocal melody shifts the track further into its elaborate depths. At just over nine minutes, Sammal weave a mighty web and here begin to stand out as a band with something to offer. With more cool grooves and catchy melodies on offer with ‘Jäniksen Vuoksi’, the bluesy lead work of ‘Kaikki Korte’ is as infectious as its funky grooves and the driving second half of the track. The melancholic charm of ‘Näennäiskäännännäinen’ blossoms into a driving groove that emotionally elevates the track into the stratosphere. ‘Lehtipuiden Alle’ and ‘Jokainen Pysyköön Uskossaan’ blend more melodic grooves with ethereal melancholy and contemplative airs while ‘Veneenrakentaja’ is simultaneously driving and introspective. And the sorrowful ‘Kylmää Usvaa’ is palpable as the intensity of the rising 12/8 rhythm finishes the album off. In terms of musicianship, this is a band that have spent a long time playing and listening to each other, learning each other’s styles and strengths and absorbing it all to give shape to this powerfully emotive and wonderfully nuanced collective. There’s a free spirit flowing through the nostalgic textures and rich depths of this astonishing début. Meditative, heavy, reflective, and mesmerizing, just sit back and let yourself dissolve into the music and be transported to some other time and place. And don’t worry if you can’t speak Finnish, you’ll be singing along anyway. Review by "Jason Guest" (www.themidlandsrocks.com).

RATING:  7.75 / 10

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*. Magik .*

Album: Magik (1981)
Genre: Hard Rock (Melodic/AOR/Prog)  /  Canada

Power trio, released '81, Side 1 sounds more like '75.  Side 2 caves a bit to the 80's sound, but they handle the cliches pretty well. Despite the occasional AOR moves (sounding kinda Foreigner-like maybe?), but they keep the rock quotient, so it still will appeal to the hard rock folks. Singer's pretty good too. A nice one to grab if you like the obscuro private press hard rock thing. Review by "Newarkpsych" (Rate Your Music).

Songs / Tracks Listing
01.Just Like Yesterday
02.Right Before My Eyes
03.So Young
04.Bank Manager
05.The Tunnel
06.Don't Kick Me When I'm Down
07.Look Ahead   
08.Never Again
09.You're the One
10.Belly Dancer
11.Going Insane

RATING:  6.75 / 10

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*. Procol Harum .* (Japan Remaster 2012 + Bonus)

Album: A Salty Dog (1969)(Japan Remaster 2012 + 6 Bonus)
Genre: Prog Rock (Folk/Symphonic/Crossover)  /  UK

 

 Procol Harum's third album, 1969's A Salty Dog, proved that the brilliance of the prior year's Shine on Brightly (which I gave five stars) was no fluke. If anything, this album is even more focused and powerful, and certainly more broad in what it attempts to achieve. Only two slightly mediocre songs drag this one down; otherwise, it's pretty close to perfect. The title track opens the album - a somewhat risky move, as it's clearly a ballad, and a pretty lengthy one at that. With watery sound effects,seagulls chirping, a melodramatic string arrangement (keyboard players Gary Brooker and Matthew Fisher composed all their own orchestral arrangements, by the way), and a simple yet vivid lyrical portrait (Keith Reid, the band's lyricist, is one of the finest lyric writers in rock history, in my opinion) of a sea captain, Procol Harum produce a stunning masterpiece with this song. Even better is the less obvious "Milk of Human Kindness" which follows it -- on the surface a pretty basic blues song, but arranged brilliantly with piano and lead guitar bouncing off each other, and BJ Wilson providing a novel, dramatic start/stop drum part. "Too Much Between Us" is a bit low-key and one of the album's weaker tracks, but "The Devil Came From Kansas" turns a folky melody into a full-blown loud doom number, with Robin Trower's lead guitar pushing it even further over the edge. "Boredom" ends side one, a Matthew Fisher piece with acoustic guitar, gentle hand percussion, and a nagging recorder melody -- about as far from "Kansas" as you can get. Keith Reid's lyrics about ennui and boredom almost feel cheerful in this context. A big shocker opens side two -- the stark country blues of "Juicy John Pink" (by Trower, with lyrics by Reid), with little other than Trower's Hendrix-inspired guitar and Gary Brooker's vocal to carry it along. And to go from that into the symphonic drama of Fisher's "Wreck of the Hesperus" is even more shocking. Probably the most elaborately produced piece here, "Hesperus" seems to be of a piece with "A Salty Dog" in its maritime theme. "All This and More" is a pretty uneventful ballad, a disappointment in the midst of an impressive streak. Next is "Crucifixion Lane", a tough, soulful blues number sung by Robin Trower (unfortunately) in a raspy croak of a voice. It's a bit jarring after hearing Brooker and Fisher's superior voices for the rest of the album, but overall it's still a good track, further adding to the album's stunning diversity. Last but not least, we have a third Fisher composition, the excellent "Pilgrim's Progress" - an organ-based ballad seemingly similar to "Whiter Shade of Pale", but about halfway through, the song shifts into an elongated coda led by an upbeat piano riff that ends the album on a happy note. Though this is often considered Procol Harum's masterpiece, I still prefer Shine on Brightly, but this album is still essential for those wishing to get into the band, and the title track, "The Devil Came From Kansas", and "Wreck of the Hesperus" are all key songs in the development of progressive rock. The album is confident and focused, even as it tackles an impressively diverse array of musical styles. 

Review by "HolyMoly" (Prog Archives).

RATING:  8.5 / 10

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*. The Qube Concept .*

Album: The Qube Concept (1986)(EP)
Genre: Prog Rock (Melodic/AOR/Neo Prog)  /  Canada

Songs / Tracks Listing
01.Freefall
02.One Good Reason
03.Say A Prayer
04.Do What You Want
05.Time To Fly
Total Time: 21:18

Line-up / Musicians
Brad Lovell / Vocals
Mike Champigny / Bass
Greg Schmidt / Guitar
Peter Mace / Keyboards
Jeff Huesken / Drums

RATING:  7.75 / 10

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