Track listing:
1. 6.13 a.m. Message (2:24)
2. 6.16 a.m. Deceit (11:41)
3. 7.42 a.m. Conflict (6:55)
4. 8.33 a.m. Inside (8:59)
5. 11.41 a.m. Awakening (7:57)
6. 11.51 a.m. Flight (5:41)
7. 1.17 p.m. Put It Down (5:24)
8. 2.33 p.m. Essence (6:42)
9. 5.48 a.m. Lasting Effect (8:42)

Total Time: 64:25

Releases informations
CD Cyclops Records CYCL176 (2010 UK)

Credits
- Andreas Hack / keyboards
- Sebastian Koch / guitar
- Jürgen Rennecke / bass, stick
- Wolfgang Ostermann / drums
- Nicole Scharnagl / vocals
- Christine Mettner / vocals
- Kerstin Leidner / vocals
- Christian Hack / guitar
- Steve Hohanberger / guitar
- Barbara Jöris / violin
- Christian Hack / woodwinds
- Nerissa Schwarz / electroharp

special guest:
- Jacob Holm-Lupo / guitar

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Track listing:
1. Sister Sad ( 6:27)
2. Stethoscope ( 2:20)
3. Sailor Waltz ( 9:44)
4. Gi Hop ( 4:17)
5. The Wind And The Leaves (3:02)
6. Wolverine Hoods ( 6:08)
7. Monstrous Colossus (5:25)
8. Song For E ( 6:32)
9. Cold Blooded Music (7:37)
10. Waltz For Matilda (3:42)


Total Length: 55:14

Releases informations
CD: ACT Music ,Sweden

Credits
Johan Lindström: acoustic and electric guitars, lap- and pedal-steel guitars, piano (10);
Martin Hederos: piano, pump organ, violin, keyboards, accordion;
Dan Berglund: double bass;
Andreas Werliin: drums

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Track listing:
1. Stone Free (3:45)
2. Valleys Of Neptune (4:01)
3. Bleeding Heart (6:20)
4. Hear My Train A Comin' (7:29)
5. Mr. Bad Luck (2:56)
6. Sunshine Of Your Love (6:45)
7. Lover Man (4:15)
8. Ships Passing Through The Night (5:52)
9. Fire (3:12)
10. Red House (8:20)
11. Lullaby For The Summer (3:48)
12. Crying Blue Rain (4:56)

Releases informations
Originally released (P)&(C) 2010 Experience Hendrix, L.L.C. under license to Sony Music Entertainment

CD: Experience Hendrix, Legacy, 88697 64056 2 (US)

2 x LP: Legacy MOVLP075 (EU)
Manufactured & distributed by Music On Vinyl B.V. for Sony Music Entertainment

Credits
Bass - Billy Cox (tracks: 1 to 3) , Noel Redding (tracks: 4 to 12)
Drums - Mitch Mitchell (tracks: 1, 2, 4 to 12)
Vocals, Guitar - Jimi Hendrix (tracks: 1 to 5, 7 to 10, 12)

Backing Vocals - Andy Fairweather Low (1), Roger Chapman (1),Noel Redding (9),
Percussion - Juma Sultan (2),Rocki Dzidzornu (6,12)
Drums - Rocky Isaac (3)
Maracas - Al Marks (3)
Tambourine - Chris Grimes (3)

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Track listing:
Disc 1:
1. Tasmania (5:34)
2. Fast Car (6:08)
3. Feel Alive (5:09)
4. Moon Dust (6:13)
5. Temporary Madness (4:38)
6. Angels Face (4:47)
7. Sometime Tomorrow (7:06)
8. Galaxy Insomniac (6:38)
9. So Heaven Is..... (2:07)
10. Intermission (1:22)

Time 49:42

Disc 2:
1. Shine (10:39)
2. Something Something (5:23)
3. Silently Falling (6:23)
4. In A Different Light (9:04)
5. Left A Hole (6:51)
6. Distant Memory (7:46)
7. Pyro (6:55)
8. The Peace Song (5:24)
9. .....Gone (3:45)

Time 62:10

Total Time 111:52

Releases informations

Credits
- Aron Scharfegger / guitars, piano, Hammond, synthesizers, bass, percussion, saxophone, vocals
- Greg Genna / guitars
- Josh Haworth / guitars
- Julie Wright / cello
- Jamie Peters / clavichord
- Doug Hammond / bass
- Mahne Dupre / vocals
- Dover Gospel Singers / vocals
- The Soweto Folk Choir / vocals

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Track listing:

1. Vremea Locului Sortit (7:38)
2. În-Zvîcnirea Apusului (12:03)
3. A-Vînt în Abis (6:14)
4. Al Locului (10:26)
5. Bruiestru (9:45)
6. Plecaciunea Mortii (11:12)
7. A-Vînt în Abis (Acoustic Version) (8:22)
8. Plecaciunea Mortii (Acoustic Version) (9:45)

Total Time 75:25

Releases informations
Full-length released by Lupus Lounge/Prophecy on the 15th of March 2010
Re-intepretation of the "Maiastru Sfetnic" album. This record contains the last
studio recordings of the classic line-up (Hupogrammos, Sol Faur, Negru). The
album is complemented by previously unreleased acoustic versions of 'A-vint In
Abis' and 'Plecaciunea Mortii'.

Regular edition released as digipack cd.
Also released as deluxe artbook edition, strictly limited to 1000 copies.

Credits

- Hupogrammos Discipl's / Guitars, Vocals, Keyboards, Tulnic, Nai
- Sol'Faur Spurcatu / Guitars
- Negru / Drums, Percussions, Xylophone

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Track listing:

1. Pamint (6:58)
2. Dacia Hiperboreana (8:52)
3. Umbra (3:31)
4. Ochiul Inimii (8:04)
5. Chei De Roua (5:51)
6. Tara De Dincolo De Negura (5:54)
7. Jar (4:29)
8. Arborele Lumii (7:37)
9. Intoarcerea Amurgului (8:21)

Total Time 59:37

Releases informations
Full-length released by Aural Music/Code 666 on the 5th of March 2010
Released by code666 Records in a special limited edition - handmade woodbox, roped and filled with the very earth of the place it comes from.

Credits

- Corb / Vocals, Guitars, Tulnic
- Spin / Guitars
- Gadinet / Bass, Pipes
- Inia Dinia / Keyboards
- aGer (Ageru Pamântului) / Percussion, Xylophone, Pipes, Vocals
- Negru (Gabriel Mafa) / Drums, Percussion, Folk Instruments

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Track listing:

Children Of Another God
Doctor Prometheus
Twenty Summers
Identity Theft
The Colony Is King
Crimewave Monkeys
The Others
Babel Tower
Howl The Stars Down

Releases informations

Credits

- Nick Magnus /

Guests:

- Steve Hackett /
- John Hackett /
- Pete Hicks (former Steve Hackett Band vocalist) /
- Tony Patterson (ReGenesis vocalist) /
- Linda John-Pierre /
- Andy Neve /
- Glenn Tollett (formerly of The Enid) /

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Track listing:
1. The Darkest Hour (12:46)
2. Sons of God (8:50)
3. The Human Stain (6:38)
4. Drowning on Dry Land (4:10)
5. Distant Shores (4:42)
6. Damaged Goods (8:04)
7. Break My Wings (9:52)
8. Cinescope Dreams (5:56)

Total time 61:02

Releases informations

Credits
- Jürgen Hegner / guitars
- Frank Köhler / keyboards
- Feliks Weber / drums
- Jens Uwe Strutz / vocals, bass

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Track listing:

1. To The Fiendz (5:19)
2. Till The Morning Light (7:11)
3. Somnambulist (3:14)
4. Illumination (7:32)
5. Of Blood And Grace (6:30)
6. Requiem (4:14)
7. Oxygen (4:21)
8. No Conscience (4:59)
9. Just How Far Down Do You Want To Go? (5:25)
10. Paradiseum (4:39)
11. Acid Epiphanies (4:35)
12. Fist To Throat (3:38)
13. Seven Inches Deep (4:31)
14. Hypnotic (5:05)
15. Devil Went Down To Georgia (3:33)

Total Time 74:46

Releases informations
Released: 28th of February 2010
Label: Aural Music

Credits

- Taylor Hession / vocals
- Robert Warren / guitar
- Ray Goodwin / guitar, violin
- Jason Williams / bass
- Zack R. Sewell / drums

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Track listing:
1. Moon Germs 6:02
2. Two For Juan 9:37
3. Obliquely Speaking 6:16
4. Isle Of Skye 7:18
5. A Days Grace 8:11
6. Mirage 7:36
7. Cancun Market 8:22
8. Torpedo Flo 8:28
9. Alfa Waves 6:49
10. Saippuakivikauppias 7:21

Releases informations
CD: BHM 1044-2 (ZYX) ,Switzerland

Credits
Bill Cobham - drums
Ernie Watts - woodwinds
Michael Rodriguez -trumpet
Marshall Gilkes - trombone
Jean-Mary Ecay and Dean Brown - guitars
Philippe Chayeb - bass
Wilber Jr. Gill - steel pan and PanKat
Christophe Cravero - keyboards and violin
Marco Lobo - percussion

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5/5 STARS - Very rare album from almost forgotten great experimentalist David Torn. Searching on his own sound in the field of experimental guitar music, David Torn tested many electronic devices and techniques. But it is a case, when deep experimentation gave excellent musical result.

Just imagine King Crimson's rhythm section (Tony Levin + Bill Bruford), David Torn on guitar ( he has very own sound, but nearest example is Robert Fripp) and excellent jazz trumpetist Mark Isham as one band. That is it, this album.

Very first album sounds are guitar soundscapes, similar to Fripp's. But very soon the music goes to the fields of world-avant-fusion (where Torn plays strings in a manner of French- Vietnamese guitar player Nguyen Le).

Step by step trumpet takes his leading role, and doesn't surrender till very end of the album. Fripp-like guitar and bass stick build very multi textured background for trumpet improvisational sound it.

But guitar will have its moments many times. Sometimes duelling with trumpet, or going over it , it builds great aerial sound constructions ( elegantly mixed by EMC characteristic sound mixing). Rhythm structures are complex, influenced by African and Caribbean drumming.

All the album sounds as one excellent piece of music. Possibly, the best fusion album coming from eighties!

Very recommended for any jazz rock fusion fan. Masterpiece!

by snobb


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Track listing:
Disc 1:
1. Fear of a Blank Planet
2. My Ashes
3. Anesthetize
4. Sentimental
5. Way Out of Here
6. Sleep Together
7. Normal
8. Stars Die
9. Open Car
10. What Happens Now?
11. Wedding Nails
12. Dark Matter
13. Half-Light
14. Sever
15. Blackest Eyes
16. Sleep of No Dreaming
17. Halo

Disc 2:
1. Normal
2. Drown With Me
3. Stars Die
4. Cheating the Polygraph
5. Anesthetize
6. Prodigal
7. Wedding Nails
8. Strip the Soul
9. .3
10. Half-Light
11. Sever
12. Way Out of Here
13. Sleep Together
14. Fear of a Blank Planet
15. Trains
16. Sleep of No Dreaming
17. Halo

Releases informations
Porcupine Tree's new live film is approaching completion and a special edition will be available in April, with a regular version to follow in May. Anesthetize was filmed live over 2 nights in Tilburg, The Netherlands in October 2008, at the end of the Fear of a Blank Planet tour. The 130 minute live film includes a complete performance of the Blank Planet album and 11 other tracks, and was directed and edited by Lasse Hoile on high definition cameras, with the soundtrack mixed into stereo and 5.1 sound.

Credits
- Steven Wilson / vocals, guitar, piano
- Richard Barbieri / keyboards, synthesizer
- Colin Edwin / bass guitar
- Gavin Harrison / drums

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4/5 STARS - Within a year this great band has moved up my personal ranking of prog metal bands to one of the very highest positions. What I like most about them is their energetic approach and each time I play one of their albums they lift up my spirit and almost give me some sort of boost. And added to these already important facts they also compose highly melodic and catchy songs (not always a plus in progworld but within the prog metal scene I usually prefer this feature).

And with this latest release they again don't disappoint me one bit. At first few listens I thought it was a bit more of the same compared to what they have done so far but I have this feeling more often when I listen to a new album. In the end it's also a matter of getting used to the new songs and give them time to sink in. I know all their albums by now and I have to say they are all pretty equal in quality, at least where the compositions are concerned. Yes, even the debut pleased me a lot even though the average here on PA might suggest it's by far their least output. Where style is concerned this Snowfall on Judgment Day is right in between Fulness of Time and Origins of Ruin. The latter was a little bit tame for their abilities where FoT was extremely energetic. SoJD is a bit closer to FoT but has the same catchy melodies as songs like Memories and Fall on You, two great songs from OoR.

So all in all another great release by Redemption, most certainly recommended for their fans but prog metal fans who never heard of them should actually be a bit ashamed and run to the store or wherever and buy this album immediately to check it out. I could even reward it with the full score but lack of originality prevents me from doing so. It's the only danger and thread for this band in the future. On the other hand I would be disappointed if they would leave their great recent style which suits me just about 100%. So yes I'm pretty ambivalent about this aspect but right now I think I will be enjoying this album for quite some time. Best songs are Leviathan Rising, Keep Breathing and Love kills us all/Life in One Day but none of the songs is less than very good I have to say.

by progrules


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3/5 STARS - I realize this album needs to be judged according to its own time period. I also realize that it broke a lot of new ground, pushing this genre we all love so much further into unknown territory, and as such became a very significant moment for Prog Rock.

Despite all of that, it doesn't change the fact that this is one of my least-enjoyed Yes albums from this 'classic' era. The title track is overly long and boring, with too much filler and not enough is included to keep things interesting, at least not for my tastes. Jon Anderson is brilliant as usual, but to me it's clear that this song was just a bunch of disjointed ideas crammed together for the sake of being unusual, and for me, it just doesn't work all that well, or all that often. There are times when it's enjoyable, but more often than not, it just sounds like complexity for complexity's sake, and I've never liked music like that, no matter which band is guilty of it.

Oddly enough, though, the two (ever-so-slightly) shorter tracks on the album are two of the best Yes compositions I have ever heard. ''And You And I'' is a beautiful acoustic piece that gradually builds into soaring, heart-tugging synth-string sections brought to life by Rick Wakeman's keyboard 'wizardry' that everybody's always so crazy about. He really does do really work on this one, though, and he adds a lot to the music on the whole.

Likewise, ''Siberian Khatru'' is one of my favorite songs by this Yes lineup, and I still return to it quite often. The melodies are strong, the playing is exciting and varied, and overall, it's just a really enjoyable, worthy listen. However, the majority of the album's length is the epic title track, which I dislike quite a bit, so it splits my opinion of this record significantly. On the one hand, the album should receive high marks because it houses two really great Yes songs, yet at the same time, it doesn't deserve all the praise in my eyes because of the large imperfection the title track makes.

Ultimately, two shorter songs with great content can't fully outshine one epic song full of filler, so it's a wash. The album's rating evens out for me. It's a three star album, not just because it's more realistic in my eyes, but because the content held within is a mixture of sub-par instrumentation and memorable composition. A mixed bag in the truest sense of the term, Close To The Edge is one of those monster Prog albums that many people consider the masterpiece of genre, while others like myself only find it a little more interesting than the more average of Prog releases.

Not a bad record, but it's centerpiece drags it down more than lifts it up, in my opinion. If you want a truly life-changing listening experience via Yes, listen to Relayer.

by JLocke


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5/5 STARS - I'm not too much of a folk fan but this band from Holland has always been at the top of my folk charts. Their ambitious compositions and instrumental craftsmanship have a drive and timeless quality that could charm folkies, lovers of classical music and progrock fans alike. Next to the brothers Visser on acoustic guitars and Peter Weekers on flutes, the band is completed with Sylvia Houtzager on violin. Her name translates to 'Sawyer' in English so playing the violin must have been her born destination. The band would continue to perform in that line-up throughout the 80's.

Gevecht Met De Engel is Flairck's strongest studio offering and successfully claim not to have one wrong or misplaced note for its entire 44 minutes of dazzling virtuosity. Each part radiates with playing pleasure, regardless whether it's melancholic and quiet or fast and cheerful. One of the secrets is the perfect interplay between all members. The leading instrument is the acoustic guitar, complemented by dazzling bass guitar, an array of flutes and violin. The arrangements have plenty of breathing space though and never get overcrowded nor bombastic.

While it's difficult to point out any particular standout piece, the main focus of the album is on its 3-part title track, a 23 minute tornado raging through European folk music, ranging from Spanish, Celtic and Eastern European traditions. It's particularly essential as it doesn't feature on any of the official Flairck live albums. If you want to hear it then it will have to be here.

Gevecht Met De Engel is probably one of the best acoustic folk albums ever made. Given its impressive compositions it's nothing short of essential in any prog rock collection. So it's particularly distressing having only one other reviewer on this page joining me in my praise for this masterpiece.

by Bonnek


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3/5 STARS - Gin is the third full-length studio album by American, Colorado based experimental post black metal act Cobalt. Gin was released on the 17th of March 2009 by Profound Lore. I was pretty thrilled about their last studio album Eater of Birds (2007) but the 2008 Landfill EP left me rather disappointed and with an uncertain feeling of how future releases would sound, so Gin is supposed to be the album that repairs my relationship with Cobalt.

The music on Gin fortunately continues down the post black metal path of Eater of Birds and develops that style further. There are still loads of raw black metal parts and caustic raspy vocals on the album but the post metal elements that were already a part of the soundscape on Eater of Birds have become even more prominant on Gin. A song like Dry Body can fully be called post metal. It contains chanting vocals and tribal drumming. There are many great features on this album like the high compositional quality and excellent production but the thing I enjoy most about Gin is actually the drumming by Erik Wunder. He is such a skilled drummer and his busy drumming keeps the songs exciting throughout. Cobalt is a two-piece act so in addition to handling the drumming in superior style Erik Wunder also handles vocals, bass and guitar. His companion Phil McSorley handles vocals and guitar. Jarboe ( Swans) guests on a couple of tracks too.

So all in all Gin certainly repairs my relationship with Cobalt but like with Eater of Birds I still don´t think Gin deserves a full 4 star rating. A 3.5 will do for now. I won´t rule out the possibility that Gin will grow on me further though so I might upgrade my rating to 4 stars sometime in the future. No matter what the rating is Gin is a great album and the post metal and black metal blend works really well for the band and gives them a unique sound.

by UMUR


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2/5 STARS - Landfill Breastmilk Beast is an EP release by American post black metal act Cobalt. The EP was released by Profound Lore Records in June 2008.

The EP consists of three tracks and has a total playing time of 44 minutes. The first two tracks Stomach and Extinction are in the post black metal style of the band´s last album Eater of Birds (2007) while the last 29:31 minute long Ritual Use of Fire track is a long ambient sound experiment piece. The latter was recorded solely by vocalist/ guitarist Phil McSorley. While the two first tracks are very enjoyable, aggressive and well composed I´m very disappointed by Ritual Use of Fire. For someone like me that track is a complete waste of time and I actually find myself a bit offended that almost 30 minutes out of 44 minutes on the EP are occupied by nothing but experimental ambient sounds. I had hoped for a long progressive post black metal track.

The production is professional and powerful.

Landfill Breastmilk Beast started out as a 3.5 star EP for me but after listening to Ritual Use of Fire my rating has dropped to a 2 star rating. Maybe other people can enjoy this piece of sound experimentation, I call it a bad excuse for not having enough proper material to put on the EP. It could have been so good but ended up a disappointment.

by UMUR


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3/5 STARS - Eater of Birds is the 2nd full-length studio album by American experimental/ post black metal act Cobalt. The album was released by Profound Lore Records in July 2007. There is also a 2xLP version available which was released through Garden of Exile and limited to 500 copies ( both black and yellow coloured versions). The band´s debut album War Metal (2005 was a professionally produced black metal album with classic heavy metal leanings. A style of music that doesn´t suit me very well if I have to be honest, but even counting my reservations the album was actually pretty good. Eater of Birds is a vastly different album and introduces the experimental element to Cobalt´s sound that makes them interesting for people on this site.

The music on the album is experimental/ post black metal. A term that could mean many things but here´s an explanation: The basis of the music is simple old school black metal. Raspy vocals ( low in the mix), blasting drums and a level of aggression and cold atmosphere that not many other genres can rival. Add to that some mid-paced traditional heavy metal riffs ( which are much fewer and far between than on the War Metal) and then the new element in Cobalt´s sound which is the addition of post metal elements. The latter style really makes the music on Eater of Birds stand out as something special IMO and it´s those elements that makes this release so much more enjoyable than War Metal. The sheer aggression of the black metal parts are enjoyable too but the mix of the that genre with the repetitive and at times almost tribal-like post metal parts is a succes. The album is very long though and at 70 minutes I find it too long. Cobalt could have cut a few songs which would have made the album more accessible. It´s the kind of album that takes a while to digest. There are some songs on the album that helps to give the listener breathing space between the harsh and aggressive "main" songs. The three Ritual Use of Fire which are spread out on the album are great atmospheric pieces and Androids, Automatons and Nihilists also works as a nice breather.

The musicianship is excellent. Cobalt is a two-piece act consisting of Erik Wunder on Drums, Vocals, Bass and Guitar and Phil McSorley on Vocals and Guitar. So the instrumentation on the album is very raw and basic. While there are no virtuoso parts being played on the album Erik Wunder and Phil McSorley are certainly capable musicians anyway. There´s an intense conviction in the things that are played that is admirable.

The production is powerful. But it´s a harsh sound that I find hard to endure for 70 minutes straight. It´s a matter of taste though as there is nothing wrong with the quality of the production.

I´m a bit biased about Eater of Birds because on one hand I find the album greatly enjoyable but on the other hand there are some flaws that means it´s not excellent. Well...at least not excellent for the full 70 minutes of playing time. So my rating ends on a 3.5 star rating with the possibility that I will upgrade it to a full 4 sometime in the future. Cobalt´s new style is really promising and I look forward to listen to some of their later works.

by UMUR


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3/5 STARS - War Metal is the debut full-length studio album by American, Greeley, Colorado based black metal act Cobalt. The album was released in April 2005 by From Beyond Productions. War Metal was already recorded in May 2003 at Hellion Studio though. Cobalt is a two-piece act consisting of Erik Wunder on Drums, Vocals, Bass and Guitar and Phil McSorley on Vocals and Guitar.

The music on War Metal is pretty straight forward black metal with blasting drums, raspy vocals and distored guitars. There are lots of more traditional heavy metal elements on the album too though and it´s especially when the pace is slowed down a bit that some groove and melody appear. The musicianship on the album is excellent. I´m especially fond of the drumming on the album which is tight and fast. The songs and the riffs are a bit generic though and I could have wished for a more experimental or original approach. The production is not your typical thin high end black metal sound. The sound is fat, full and pretty brutal and that´s something that pleases an old death metal fan like myself. A very succesful production to these ears.

While I´m not especially fond of the style of music on this album, it´s undeniably a good quality recording and I can´t give less than a 3 star rating.

by UMUR


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4/5 STARS - Okay, I suppose it's time for my take on this work, finally. I've put it off for awhile, but I might as well get these 'giants' out of the way so that I can dig further into lesser-known territory in my reviews. This deserves my time, however, because it truly is a masterpiece in so many ways.

Already, virtually everything can be said about this album already has been said, and so this will be a very short review. But in a nutshell: this is one of highest-rated, most beloved Crimson records, and it's just their first release! These guys were amazing and revered before they even had a hit, and they weren't making music for commercial success or status; they simply wanted to make great music. And make great music, they did. I wish that attitude would be more common among so many of the modern-day Proggers.

Everything on this album has a magnificent sheen of brilliance and polish. From the kick-to-the-face Jazz-Rock epic opener that is ''21st Century Schizoid Man'' all the way to the majestic title tack album closer, this record is a resounding piece of musical history that should not be missed. I am one of those people who tends to look at the biggest hyped works of art with a closer eye than others, since I do believe a work can get 'too much credit', but in the case of In The Court of The Crimson King, all the praise is well-deserved.

Of course it can be argued that the band would later go on to do even better things in the future, but this is where their legacy began, and few other bands can say they hit it out of the park on the very first try. It's an enormous accomplishment and an iconic piece of music. Minor flaws here and there might be a huge deal to some, but as far as I am concerned, this is an album you shouldn't pass up. It's certainly one of the greater works of the decade, and while not fully 5-star material in my personal opinion, I think enough people have already given all the reasons why you should in fact pick up a copy of this monumental record.

So on a personal level, this is 4 out of 5, but don't fret; it's still one of the better records of the era, and a must-have for Psychedelic Jazz-Rock fans, or followers of King Crimson. Ideally, everybody should give this one a try once. It might be a little unevenly-paced for some, but as a complete experience, it was hard to beat at the time, and it's still a grand, well-loved work of art to this day.

Happy listening.

by JLocke


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