Track listing:
CD 1
1. Karn Evil 9 1st Impression Part 2 (5:57)
2. The Barbarian (5:17)
3. Bitches Crystal (4:16)
4. Knife Edge (5:55)
5. From The Beginning (5:10)
6. Touch And Go (3:20)
7. Just Take A Pebble (15:38)
8. Tarkus extract (2:51)

Disc 1 playing time 48:24

CD 2
1. Farewell To Arms (6:02)
2. Lucky Man (6:31)
3. Pictures At An Exhibition (abridged) (16:22)
4. Fanfare For The Common Man (12:33)

Disc 2 playing time 41:28

Total Time 89:52

Releases informations
Live at High Voltage
25 July 2010

Concertlive CD

2 CD set

Credits
- Keith Emerson / keyboards
- Greg Lake / bass, acoustic guitar
- Carl Palmer / percussion

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Track listing:

1. Deluge Grander - The Solitude of Miranda* (7:18)
2. Birds and Buildings - Birds Flying Into Buildings* (9:13)
3. All Over Everywhere - Art of the Earth (4:16)
4. Birds and Buildings - Yucatan 65: The Agitation of the Mass*^(5:00)
5. Cerebus Effect - Nine Against Ten (6:38)
6. Birds and Buildings - Miracle Pigeon (early version) (2:31)
7. Deluge Grander - Aggrandizement*^(12:50)
8. All Over Everywhere - Gratitude (10:41)
9. A Big Blob of Demos and Early Versions of Forthcoming Music**(20:13)

Total Time 78:20

Releases informations

Released by Emkog Records as an introduction to the US East Coast neo-prog scene. The CD came to me inside the "Romantic Warriors: A Progressive Music Saga" DVD envelope; but is also sold separately online.

The notes below are directly copied from the back cover:


^ Excerpt
* Mastered Differently (than the album version)
** Includes material that will eventually be improved and released on
Birds and Buildings: Multipurpose Trap (2010 or 2011),
Deluge Grander: Heliotians (2011 or 2012),
Elevator Machine Room: Vertiginal Earthlings, Recalibrate Your Legends
Of Northern Gods to Inspire The Last Empire (2011 or 2012), and
Circular Istoria (2015 or later)

Credits

VARIOUS ARTISTS (CONCEPT ALBUMS AND THEMED COMPILATIONS) Music Online:
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Track listing:
1 Souvaris: Great Scott 07:27
2 Souvaris: Hello Antelope 05:57
3 Sincabeza: Bacalacola 05:43
4 Sincabeza: Facile A Compter 05:53
5 Sincabeza: Malalido 08.04

Releases informations
vinyl 12" Gringo Records, WAAT040

Credits


n/a

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Track listing:
I.E.M.
01. The Gospel According To The I.E.M. (12.58)
02. The Last Will And Testament Of Emma Peel (8.10)
03. Fie Kesh (8.23)
04. Deafman (9.06)


An Escalator To Christmas
01. An Escalator To Christmas (10.33)
02. Headphone Dust (6.11)
03. An Escalator To Christmas (Extended) (13.04)
04. I.E.M. Have Come For Your Children (Vinyl Bonus Version) (8.11)


Arcadia Son
01. Wreck (1.25)
02. Beth Krasky (0.26)
03. We Are Not Alone (8.02)
04. Cicadian Haze (6.24)
05. Politician (1.08)
06. Arcadia Son (7.56)
07. Shadow Of A Twisted Hand Across My House (20.23)
08. Goldilocks Age 4 (1.12)


Have Come For Your Children
01. Untitled (35.37)
02. Untitled (8.02)
03. Untitled (7.10)
04. Untitled (12.02)
05. Untitled (5.29)
06. Untitled (4.31)

Releases informations
4CD Box
Limited edition of 2000 copies in deluxe hardback slipcase, complete with 60 page booklet, featuring IEM, An Escalator To Christmas, Arcadio Son, and Have Come For Your Children each in a Japanese style mini album sleeve.

Credits
Steven Wilson - Guitar, Keyboards
Colin Edwin - Bass
Mark Simnett - Drums
Jeff Lee - Flute

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Track listing:
1. Masquerade (12:32)
2. Chambermaid (8:53)
3. Storming The Castle (5:29)
4. Blue Rain (7:44)
5. Frozen In Time (14:37)
6. Summer's End (8:00)
7. Dark Waters (5:12)

Total Time: 62:27

Releases informations

Credits
- David Minasian / keyboards, guitars, bass, drums, percussion, vocals
- Justin Minasian / guitars (2 - 7)

With:
- Guy Pettet / drums (3 & 5)
- Don Ray Reyes Jr. / drums (5)
- Nick Soto / guitar (2)

Special Guest:
- Andrew Latimer / guitars, vocals (1)

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Track listing:
1. Beneath the Tide
2. Lorelai
3. To See But Not Believe
4. The Reunion (live)
5. Beneath the Tide (live)
6. The Sixth Day (live)

Releases informations

Credits
- James Byron Schoen / vocals, guitars
- TD Towers / bass, vocals
- Stefan Paolini / keyboards, vocals
- Anthony Waldman / drums, vocals
- Matthew Bauer / percussion
- Barry Seroff / flute
- Mike Lunapiena / cello
- Benjamin Wigler / guitars (tracks 1, 3, 5)
- Carl Baron / cello (tracks 1, 4, 5)
- Mike Tee / bass (track 5)
- Alex Hornbake / additional bass guitar
- Matt Cozin / drums (track 3)
- Michael Drucker / violin (track 3)
- Rachel Kiel / flute (track 3)
- Arthur Sugden / piano, organ (track 3)
- Adam Berneier / synths, programming (track 3)

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Track listing:
Part I : (15:50)
- a. In The World Of Dreams
- b. Beginning Of Divine Inspiration
- c. Revival
- d. A Stone In The Ocean

Part II: (12:00)
- a. A Farewell To Sun
- b. Fly To Underground Without The Past
- c. Fight With The Evil Spirits

Part III: (17:20)
- a. A Journey To Innerself
- b. Scourge Of Nemrud
- c. In All Stages Of Immortality
- d. Jump To Final Dimension Through The Seventh Sky

Total Time: 45:10

Releases informations

Credits
- Mert Göçay / guitar, vocals
- Harun Sönmez / drums, cymbals
- Aycan Sari / bass

guest musicians:
- Mert Topel / keyboards
- Hakan Süersan / bass, fretless bass
- Dogaç Titiz / drums

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Track listing:
CD 1
1. Wondrous Stories (Yes) (3:45)
2. Living In The Past (Jethro Tull) (3:21)
3. Crime of the Century (Supertramp) (5:30)
4. The Spirit of Radio (Rush) (4:59)
5. Tubular Bells (Mike Oldfield) (3:16)
6. Rhayader (Camel) (3:01)
7. Dust In The Wind (Kansas) (3:27)
8. The Kettle (Colosseum) (4:28)
9. Gypsy (Uriah Heep) (6:38)
10. Hold Your Head Up (Argent) (6:16)
11. Paper Sun (Traffic) (4:14)
12. Silver Machine (Hawkwind) (4:39)
13. Frankenstein (The Edgar Winter Group) (4:44)
14. Perfect Mystery (Gong) (2:27)
15. Mocking Bird (Barclay James Harvest) (6:39)
16. Nantucket Sleighride to Owen Coffin (Mountain) (5:51)
17. In-A-Gadda-Da-Vida (Iron Butterfly) (2:52)

CD 2
1. Hocus Pocus (Focus) (3:23)
2. Solsbury Hill (Peter Gabriel) (4:21)
3. Fanfare for the Common Man (ELP) (9:47)
4. Kayleigh (Marillion) (3:34)
5. Sympathy (Rare Bird) (2:43)
6. The Serpent (Genesis) (4:38)
7. Radar Love (Golden Earring) (6:24)
8. I Hear You Now (Jon & Vangelis) (4:47)
9. Question (The Moody Blues) (5:40)
10. Lay Down (The Strawbs) (4:30)
11. Joybringer (Manfred Mann's Earth Band) (3:25)
12. Catherine of Aragon (RIck Wakeman) (3:45)
13. In The Land of Gray and Pink (Caravan) (5:01)
14. 10538 Overture (Electric Light Orchestra) (5:32)
15. Virginia Plain (Roxy Music) (2:58)
16. Jail Bait (Wishbone Ash) (4:41)
17. Paganini: Theme and Variations 1-4 (Andrew Lloyd Webber) (3:02)

Releases informations

Credits
- Various Artists

VARIOUS ARTISTS (CONCEPT ALBUMS AND THEMED COMPILATIONS) Music Online:
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Track listing:

1. Diorama Dream (8:15)
2. Like Coming Home (4:22)
3. The Golden Plane (8:06)
4. Old Friends Part Ways (11:17)

Total Time 32:00

Releases informations
CD Futurerecordings (2010)

Credits

- James Schultz / guitar,keyboards
- Trish Chisolm / bass,guitar
- Jeremy Schultz / drums
- Sean Reed / guitar,viola
- Andy Mac / guitar,bass

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Track listing:
1. Turel
2. Tychagara
3. Carniel
4. Bat Qol
5. Gamrial
6. Elimiel
7. Techial
8. Umikol
9. Malkiel

Releases informations
Tzadik Cat. # 7384

Credits
Greg Cohen: Bass
Mark Feldman: Violin
Erik Friedlander: Cello

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4/5 STARS - Man this is a huge album ! Rusty Cooley is an absolutely incredible guitar player, and vocalist Kelly Carpenter is one of the best vocalists i have heard in a long time.I agree with b olariu that when he hits those higher notes or screams he sounds a lot like Rob Halford. The music here is heavy with a thunderous rhythm section.ZERO HOUR came to mind often.I like the lyrics as well. "Raise Hell" opens with an all out assault just to thin the thickness of our skins.Vocals before a minute.Love the scream 1 1/2 minutes in and a minute later.The rhythm section is ground shaking as synths wash in.A blistering guitar solo before 4 minutes followed by a synth solo.Nice bass 5 1/2 minutes in. The guitar to open "Riders" reminds me of ZERO HOUR,Jasun Tipon to be presice.It settles in with vocals and a drum stampede.Vocal melodies before 2 minutes reminding me of John Arch.The synths that follow are ablaze and the guitar follows suit.Themes are repeated. "Warcry" is a top three track for me.This one is all about the amazing vocals of Sundown Carpenter.The music is heavy and hard.Guitar solo before 3 1/2 minutes. "Outworld" has to be a top three as well.It opens with the first laid back section of the album.Reserved vocals join i.Here we go before a minute.Vocals rip it up too.Synths come to the fore but they're brief.Nice drum/bass passage 3 minutes in.Check out the guitar that follows. "The Never" opens with synths then a guitar solo followed by a barrage of drums.A powerful rhythm section here and the vocals are outstanding.Blistering guitar before 3 1/2 minutes as a ZERO HOUR vibe follows. "City Of The Dead" opens with a dark atmosphere as reserved vocals join in.It kicks in after a minute.Killer guitar solo before 4 1/2 minutes.The final minute is lights out good. "Prelude To Madness" is a short piece where the piano plays and the guitar cries out. "The Grey Tide" opens with pounding drums,synths and the vocals are fantastic.It settles after 3 minutes.Great section.There's piano here too.It kicks back in a minute later.The guitar leads after 6 minutes.So good.Tough not to include this song in my top three. "I Thanatos" is the other top three for me. Riffs to start in a dark atmosphere.It kicks in quickly.Vocals before a minute.Check out the mind blowing guitar before 5 minutes that goes on and on.Keyboards then lead then the vocals return.The bass is killer here. Metal fans need to check this album out.Insane, absolutely insane.

by sinkadotentree


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2/5 STARS - Dude, is there anything left in that bong? Here the most likely answer is 'maybe' and if you can make it through the billows of smoke, past the liquid slide projector and the dancing, beaded, bleary-eyed hippie chicks, I suppose this is a reasonable psych album with the earliest glimmers of primordial prog rock. But other than a few drawn-out passages and the occasional rhythm alteration or odd instrument, Pussy's Plays is blushingly typical late 60s psych. Not that there's anything wrong with that - being the cradle of some very important things and having a guilty pleasure all its own - but you know the drill; The Byrds, early Floyd, Yardbirds, Mamas&the Papas, Doors, The Nice, Traffic. You name it, they're all here. Just not as good. But hey, someone had to open those gigs. To keep the crowd entertained before the acid kicked-in and the headliner's coke dealer had arrived.

That said, this little record is considered a bona fide classic among psychrock enthusiasts, so far be it from me to question its validity. The earthy vamp of an ancient bass opens dance party number 'Come Back June' carried on with Peter Whiteman's strong Hammond on background, followed by scornful and heavy 'All of My Life' and absolutely dreary 'We Built the Sun'. 'Comets' rocks the house and sports a sloppily-played Theremin, 'Tragedy in F Minor' speaks for itself with a distant bar piano and dusty acoustic guitar (all penned by arranger Danny Beckerman). 'The Open Ground', the only track written exclusively by the band, is no more distinguished than the other material, and things end with plodder instrumental 'G.E.A.B.'

I can't in good conscience give this one more than two stars but I know it holds a special place somewhere. I'm just not sure where that is, or if I want to go there too often.

by Atavachron


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4/5 STARS - Punchedelic Progressive Rock, let me mention about CUZO - they can remind me Aburadako, a Japanese Progressive Punk band.

For me their debut album 'Amor Y Muerte En La Tercera Fase' is the second coming of Aburadako's 'Tsuri Version'. Although there is a definite difference whether some psychedelic interludes are there or not, CUZO's heavy punkadelic style with hard and strong drumming, unrivaled noisy and fuzzy guitar solo show, and rumblin' bass supporting strictly from under, is quite similar to Aburadako's funky one in mid 90s. Starting with "Medium", a space-trippy introduction, we can reach the peak of their psychedelia in the second track "Escalera Roja". Very slimy quirky guitar explosions and aggressive drum earthquakes should stir our brain up with their soundstorm. It's very strange that some mind-expanding interludes like "Hijo" or the first part of "Huertas Solares" can be something comfortable and relaxing for us. In "Miedo Es Lo Que Mata", stickily persistent heavy riffs can go round and round about us. Even some fuzzes (feedbacks?) of Jaime's guitar are delightful. A deep heavy but tearful beautiful tragic tune is "Circulo De La Droga" ... we cannot help palpitating with Pep's massive drumming and Ivan's deep, deeeep bass play. The last infernal story "Tras La Puerta" can remind us such a weirdness like Safe Haven by Gas Giant. Namely, their Psychedelic Progressive style is well blended with Stoner Rock, Space Rock, and Progressive Punk.

Thinkin' of Barcelona, far from us in Japan ... recommended!

by DamoXt7942


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4/5 STARS - I remember being in my early teens and asking my parents for this collection for a Christmas present. Naturally, being the great parents that they are, they always encouraged my music development and so one year towards the end of the '90s santa brought me quite an excellent gift!

The red boxed 1962-1966-compilation album consists of all the most popular songs from the Beatles early discography leading up to Sgt. Pepper's Lonely Hearts Club Band (or the Strawberry Fields Forever/Penny Lane single, if you want to be more precise). Since I have never owned a single album by the group prior to the 1965 release Help it was interesting to explore this side of the band's style even though I've probably still managed to hear most of these songs prior to that point. This actually begs the question --- is it even possible to live a life without even unconsciously hearing a song by the Beatles. Of course one can stretch this argument to the most secluded sections of the Amazon Rainforest or even going out of space, even though I'm pretty sure the Beatles have that latter part covered!

Creating this type of a compilation is indeed a difficult task due to the vast amount of excellent material featured from different sections of the band's short but highly influential career. It was quite a bold decision on the part of the creators of this compilation to merely split the the Beatles' career into two section, each covered by one 2-LP/CD compilation album, which in itself could be a subject to criticism. I honestly think that a compilation trilogy, just like the Anthology albums, would have worked a lot better since the 1965-1966 part of the band's career was an interesting transition stage that can easily fill out the required space of 2-LP/CD compilation! Plus, there are quite a few important early titles that are missing from this collection. Twist And Shout, It Won't Be Long, If I Fell, I Should Have Known Better, I'll Follow The Sun, and No Reply, just to name a few.

The 1962-1966-compilation tried to achieve the task of covering the band's early years over the course of just over an hour worth of music, which in itself sounds like an impossible mission! Still, due to the fact that a consistent chronological order was maintained and that most of the important titles from all of the early albums were picked, although the latter part is debatable, I definitely admire the ambition of this early post-the Beatles compilation. If anything it shows a band in development, which in itself is well worth the price of admission!

***** star songs: All My Loving (2:09) Yesterday (2:05) Help! (2:20) Michelle (2:42) Girl (2:31) Eleanor Rigby (2:08) Yellow Submarine (2:37)

**** star songs: Love Me Do (2:24) Please Please Me (2:03) From Me To You (1:57) She Loves You (2:22) I Want To Hold Your Hand (2:27) Can't Buy Me Love (2:14) A Hard Day's Night (2:34) And I Love Her (2:31) Eight Days A Week (2:45) I Feel Fine (2:20) Ticket To Ride (3:11) You've Got To Hide Your Love Away (2:11) We Can Work It Out (2:16) Day Tripper (2:50) Drive My Car (2:28) Norwegian Wood (This Bird Has Flown) (2:05) Nowhere Man (2:44) In My Life (2:27) Paperback Writer (2:19)

by Rune2000


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4/5 STARS - When dreaming about pigs that might fly, I always tend to forget the time. Then again, the land of grey and pink is such a beautiful place without any worries that it all doesn't really matter. That's kind of the general mood of this album: dreamy, warm and most of all very lighthearted. Delightful, somewhat simple songs cover up the first half, while a stunning epic completes it.

"Golf Girl" opens the album, and is just like the other songs on the first half a catchy, dreamy pop song. It being a pop song does, however, by no means indicate it's bad. In fact, all of these pop songs sound fantastic to my ears. Caravan's style here is pretty distinctive, featuring often calm and pleasant instrumentals with Richard Sinclair's benign vocals on top of it. Pye Hasting also makes a vocal appearance on the more energetic "Love To Love You" with his higher pitched vocals. Also notable is David Sinclair's very likable fuzzy organ played through a rotary speaker, which is especially evident on the folky "Winter Wine" and the epic of the album, "Nine Feet Underground". This nearly 23 minute piece is a largely instrumental piece driven by a somewhat jazzy sound and features some long jams and solos. It clearly has a much more progressive feel than that of the songs on the first half. The lyrics on "Nine Feet Underground" are just as dreamy as the introduction of this review might suggest, while the lyrics on the other songs are somewhat quirky and most of the time don't make all too much sense. I don't get the impression that the lyrics are supposed to take an important role on the album though.

I don't consider In The Land Of Grey And Pink to be a masterpiece, but nevertheless it's a great album in the least. There is nothing really to dislike about it, but keep in mind that the first half of the album might be somewhat different from your expectations of a highly regarded prog album. In my view, In The Land Of Grey And Pink easily deserves 4 stars.

by The Sleepwalker


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4/5 STARS - This is actually an excellent album of John McLaughlin playing fusion primarily on acoustic guitar. It's nice to hear a musician of this caliber using an acoustic guitar to play something other than latin flavored jazz.

McLaughlin and sidemen Kai Eckhardt (on acoustic bass) and Trilok Gurtu (on percussion) start out slow (perhaps to warm up) with Miles Davis' Blue In Green. They then continue with a trio of pieces from the eighties Mahavishnu band. First a medley of Just Ideas and Jozy shows the trio gaining momentum. But things get hot with Florianopolis, expanded out to almost fifteen minutes. Both McLaughlin and Eckhardt stretch out completely on this tune, far exceeding the original version.

But the true highpoint of the set is Pasha's Love. This piece by Gurtu features amazing drumming and astounding licks for both guitar and bass. Mother Tongue another long piece is almost as good as the two preceding tracks, but not quite. And Blues For L.W. brings the set back for a peaceful conclusion.

One of the best acoustic fusion albums in my collection.

by Evolver


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4/5 STARS - Hard to follow up the mammoth GODBLUFF album, but Pete Hammill and co. were more than willing to try with STILL LIFE. VdGG still goes after the heavy keyboard assault here, but this happens in fewer moments and only the Hammond organ is involved, one of the more overused instruments in prog rock. Actually, there are more quiet, softer moments (Oh, no!) here than there were on the last album. Seeing that I'm more of a fan of punchier moments, this doesn't sit well with me.

It's a rather weird, amusing side of VdGG we're seeing here, even if this is one of their better efforts. However, I don't consider ''My Room'' a VdGG highlight; it's a soft jazz track that, while not bad or unnecessary, doesn't really do anything. Much of the same goes for the first two tracks, although fans will appreciate the traditional perks. Heck, Hammill is vocally at his peak here and ''Pilgrims'' is quite memorable.

''Childlike Faith'' is the big epic on the album, and it's one of the better tracks. The best part is when the piece reaches this cathartic climax with Hammill singing in a rather scratchy tone, and then the song ends with him gasping. However, the best piece here might be the best VdGG track overall, and I'm speaking of ''La Rossa''. It carries that overt heaviness from GODBLUFF and mixes it with an ever-building middle. My only complaint is that the song dawdles for forty seconds longer than needed.

GODBLUFF holds a more favourable opinion with me because that album revitalised my interest in Pete Hammill's world. STILL LIFE is a continuation of GODBLUFF; in my mind, it's not nearly as good, but it's still a very good album that can stand up on its own, barring the soft spots.

by Sinusoid


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3/5 STARS - One of two albums released in the same year. With all the soundtracks and collaborations with Jon Anderson, it is good to hear some pure Vangelis. As usual, this one is very different from its predecessors, yet reminiscent of many of them. There is a greater sense of unity in this recording than in previous releases as each track is a movement. It's as if Vangelis had composed a symphony of sorts all around a set of motifs and themes. The main concept here is one of life. Movement One begins with a thunderclap, followed by a downpour of rain. This sets the mood for a loose 18 minutes of stream-of-consciousness (pun intended?) leads over a constant boop-boop-boop rhythm. At times the rhythm can overpower the other parts. I think the idea is that of water dripping, flowing down onto and into the earth, and nurturing the life dependent on the moisture. Movement Two follows this same concept, except here the water is dripping more slowly after the storm has passed. This piece is smaller in scope but more tightly composed. Movement Three is a dynamic, chaotic piece, similar to part of Ignacio, which moves from scattered percussive sounds to rising and falling runs. This style is apparently rooted in ancient Greece. Movement Four is a slow, soft, ponderous piece centered on another constant rhythm/beat. The sound here is muted, like life nurturing underneath the soil. Movement Five caps off the proceedings by combining rhythms and themes from the previous four movements and ending up on a beautiful haunting melody. Vangelis had developed this finishing technique to a high degree, and here he is progressing to a complete mastery of the form. As much as I like it, this is an album whose concept transcends the music. I would put it perhaps in the better half of his output. A casual listener would get some sense of what Vangelis is about from this album, but would not get to the core of the oeuvre.

by Progosopher


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5/5 STARS - I am delighted to support Oliverstoned's assessment of this totally magnificent - and wholly unexpected - release. I have previously reviewed each of the band 's five studio-based outputs - including the awful Indweller - and consistently bemoaned the fact that no vinyl offering could ever hope to deliver the true Q because Q was a band who had to be experienced "live"; moreover, there was no chance, after all this time, of being able to do other than imagine how magical their concerts were. How happily wrong I was! Here we are, forty years down the track, with two live concerts (recorded at QEH on the same day) plus another half a concert, if you add in the surviving excerpts from the previous year's St Pancras concert, as captured on the sister CD, "Cosmic Energy: Live at St Pancras 1970". What total joy!

Whoever mastered this double disc at Hux records deserves a medal - it has truly been a labour of love. The sound quality is absolutely crystal clear. The accompanying booklet is hugely informative - (two of the concerts at which I saw Q are missing from the itinerary at the back, but who can expect total accuracy after all this time?) - and this is altogether just about as good as it could ever hope to get.

I am not going to launch into a review of the individual tracks, because there is no need: people either loved Q or thought they were pretentious piss-takers who were peddling their own brand of pseudo devotional clap-trap. Guess what? I loved them. And the magic is all here again, on disc, in 2010.

I note that the commentator in the booklet sides slightly with concert number 2 as the preferred one. It's a severe case of splitting hairs, but, in my book, any concert that includes the quite stupendous Wonders of the Universe will win any race to the stars hands down, and, in my opinion, the first concert is duly the better of the two, with the band on absolutely top form. Music and lights from the spheres, indeed.

If I were to seek total perfection, I would recommend extracting the "Giants" suite off the St Pancras CD, and relocating it to its proper home in the QEH concert running order ie after Meditations (concert 1, track 4). This will leave no room for the concert 1 encore (the Dive Deep suite), but no matter - it will leave you with about 72 minutes of sheer, uninterrupted bliss, as the band fully lives up to its reputation, at the time, as being the best live band in the world. They were. And now, thanks to these companion CDs, they are again.

I couldn't recommend this double CD more highly. It's (quite literally) wonderful. As Oliverstoned says, a total masterpiecel

by tbstars1


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4/5 STARS - Now this is much better, a true return to form. Lush and melodic, the bright tones and dramatics reflect the cold, hard Antarctic environment. And yes, it is another soundtrack, this time for a Japanese documentary on an Antarctic expedition, which was apparently one of the most popular films in Japanese history. I must watch it sometime if I can find it. The opening Theme From Antarctica is a Vangelis classic, reminiscent of Chung Kuo from China. Antarctic Echoes is the piece, however, that sets the mood for the rest of the album. Kinematic is the weakest track here, but is a hard driving albeit repetitive piece. Song of White has two sections, the first of which features a synthesized flute-like sound that is one of the most moving pieces of music Vangelis has ever done. Even after listening to it for 20 years, it still captures me and sends me off to another dimension, much like certain sections of Heaven and Hell do. This short section, too short in my opinion, segues into a reprise of the theme melody. On special mixes in the past I used to combine this with the actual title piece to render a ten-minute edit. Can't do that anymore with my CD burning software. The next three pieces, Life of Antarctica, Memory of Antarctica, and Other Side of Antarctica perpetuate and amplify the tone of icy isolation. The finale, Deliverance, provides a beautiful haunting melody to cap off the album. This type of piece becomes a formula for many of his later albums. On the cusp between excellent and classic Vangelis, I have to give this one a high recommendation and really consider an essential component of a good Vangelis collection.

by Progosopher


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