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Progarchives: MAUDLIN OF THE WELL Part the Second (Experimental/Post Metal, 2009)

Sat, 19 May 2012 00:41:25 +0200

Review by dtguitarfan — This review is about peer pressure. I consider myself to be a bit of an expert on Progressive
Metal. I say this based on the following: for 7 years I have been a loyal attender of the
ProgPowerUSA festival in Atlanta, GA, along with two very good friends of mine. During this time,
my collection has grown to a ridiculous amount of music, and I have sought out more and more
Progressive Metal. I LOVE Progressive Metal. Oh, I listen to other forms of music, but I do not
seek them out like I do for Progressive Metal. I suffer for Progressive Metal - listening to
mediocre album after mediocre album in the hopes that I'll find something stellar (which I do). But
why do I consider myself an expert on this sub-genre? At the ProgPowerUSA festival, they always
have a vendor area with thousands of Progressive Metal and Power Metal albums, and other related
music. I love visiting this vendor area, and for the first few years of my attendance of the
festival, I would visit the area and I would be the question asker: I would go to one of the
gentleman attending a table and I would ask about some albums I saw on the table, or I would list
some bands I liked and ask if they could recommend anything for me. The last few years, I have
stopped doing this because I found that when I asked these questions, and the vendor started listing
things for me I would find I already knew everything they were listing for me. I also noticed that
when I overheard other attendees asking similar questions, I was chiming in: "well, if you like this
band, you'll probably enjoy...." Now I tell you this story after my intro about peer pressure
because I felt my expertise on the sub-genre to be challenged because it seemed every time a thread
about Progressive Metal started, or every time a newbie asked for recommendations in the sub-genre,
some very enthusiastic forum member would tell them how Maudlin of the Well was hands down THE best
band in the sub-genre. Coming to their review page does not challenge this notion as you scan down
5-star review after 5-star review. Man, I'm telling you, I WANTED to like this band. Because I
thought, if I didn't, it must mean I'm not as much of an expert as I thought I was. HOWEVER, I will
not bow to peer pressure here. If you consider yourself a Progressive Metal fan, DON'T FEEL LIKE
YOU HAVE TO LISTEN TO THIS ONE! First of all, I don't even think this qualifies as Metal, not in
any sense of the word. Second of all, I challenge the "brilliance" that many reviewers on this site
keep pushing in regards to this band. This album, to me, felt like someone trying very, very hard
to be artistic. Now, I'm a fan of some melancholy music, such as some of the slower tempoed works
by Riverside, Pink Floyd, some rainy day Jazz, David Gray, and even the occasional Coldplay tune is
very pleasing to me. But this entire album sounded so...listless...bored...plodding...it was a
CHORE to listen to this album. It felt like the musicians were playing this music under duress! It
does not move me in any way, but rather plods along like a lazy fat man hoping if he moves slow
enough his wife will tell him "forget it, I'll do it myself." I'm pretty sure the vocalist was C.S.
Lewis' fictional character Puddleglum made into flesh. Reading all the reviews of this album, this
band no less, and not "getting it" made me feel like I had to figure out how to like this album, but
the truth is I really, really don't. It made me want to go back to the album more than once to try
to figure out what I was missing. Well, I've got news for you: I don't think I was missing out
before I heard of this band, and I definitely think I wasted far to much time trying to "get" them.
So I plead with my readers who consider themselves Progressive Metal fans: don't make the same
mistake I made! Don't waste your time on this one! You don't have to like it, despite all the 5
star reviews and people in the forum raving on and on about it! I think all the 5 star ratings are
"Much Ado About Something that's just kind of O.K."

Progarchives: ROXY MUSIC Manifesto (Crossover Prog, 1979)

Sat, 19 May 2012 00:19:27 +0200

Review by Evolver — TIn the second half of the seventies, Roxy Music took a break. Bryan Ferry released a couple of solo
albums, where he continued his journey from quirky off-key front man to romantic crooner. Phil
Manzanera released some nice albums with 801.

On this comeback album, Ferry seems to be driving the band more in his direction. While most of the
basic Roxy Music feel from the past few albums is still there, the edginess is watered down. In fact,
this is a mostly forgettable album, save for some nice bass lines (Gary Tibbs and Alan Spenner share
this role, so I'm not certain who provided the better tracks), some fair Manzanera licks, and a few nice
sax pieces from Andy Mackay.

Particularly, I like the bass and sax play in Stronger Through The Years. But the second side of this album is dismal. Mostly written by Ferry, side B opens with the fair
At least this group did provide an excellent live show.

Progarchives: PAGAN'S MIND Heavenly Ecstasy (Progressive Metal, 2011)

Sat, 19 May 2012 00:19:00 +0200

Review by dtguitarfan — Oh, Pagan's Mind, how you broke my heart with this album. I expected so much from you, based on
your previous works. But with this album you commited the cardinal sin for me and released an album
full of repetitious songs devoid of the previous mastery of time signature changes I had heard from
you in the past, lacking in interesting song structure, and featuring less of the overall technical
wizardry I had come to expect of you. I don't know if the switch to blue-based album covers to a
red-based album cover somehow subconsciously did this to you, or if you picked a red-based album
cover because you subconsciously realized you had sold out to the masses, but I was so sad as I
listened to this album. I am hoping this is merely a phase - we shall see. To the readers - if you
want to listen to Pagan's Mind at their best, go listen to Enigmatic: Calling, Celestial Entrance,
or God's Equation.

Progarchives: PAGAN'S MIND Enigmatic: Calling (Progressive Metal, 2005)

Sat, 19 May 2012 00:18:18 +0200

Review by dtguitarfan — Pagan's Mind is a unique act that leans more towards european melodic Power Metal, but in many of
their albums add progressive elements that make their music very interesting and, to be quite frank,
quite wonderful. They have a dark, spacey-futuristic feel that mainly comes from the keyboard
playing of Ronny Tegner. Add to this the stellar guitar work of Jorn Viggo Lofstad (who I have
heard compared to Eddie Van Halen, and while I see this I feel his playing is far superior and adds
some of the flavor and techniques of Steve Vai and Joe Satriani maybe) and the unearthly, often
banshee-like, 80's metal-style singing of Nils K. Rue, and thunderous drumming of Stian
Kristoffersen, and you have quite an amazing style.

Enigmatic: Calling is the third studio album by the band, and is probably my favorite overall. In
this album, Pagan's Mind treads right on the border of Progressive and Power Metal, having one foot
firmly planted on either side. The whole album has a very other-worldly, spacey, futuristic feel to
it that is hard to explain, but can be perfectly summed up in the first few minutes of the final
song "New World Order", which is incidentally my favorite song by the band. I would actually
recommend that anyone who wants to know what this band is about go listen to that song as it
perfectly showcases everything the band does so very well. But this is not the only good song on
the album - the whole album is filled with head-banging, eerie, spacey metal that will have you
fist-pumping all the way through. This is a perfect album for someone who loves Power Metal, and
wants to experience Progressive Metal without diving in headfirst, and conversely would be a great
album for any Progressive Metal lover who wants to try out some Power Metal.

Progarchives: KEVIN AYERS Bananamour (Canterbury Scene, 1973)

Fri, 18 May 2012 23:50:41 +0200

Review by Einsetumadur — 10.25/15P. - The second to best listenable Ayers album, past 'Joy of A Toy'. On this record
Ayers rarely attains the apex of his possibilities, but he most importantly avoids plunging into
pseudo-avantgarde or complete triteness. The overall balance: eccentric and well-written pop music
with minimalistic percussion and the occasional glam sound - and with R&B replacing the country of
the previous album as the main influence. It sound less commercial than it really is!

Since April 2012 there's a new Kevin Ayers box set including all of the albums from 1969 to 1974 -
remastered, including the most important bonus tracks of the previous releases plus the
corresponding BBC sessions from the BBC Sessions CD. The con side: the booklet is annoyingly
slim, containing only the song titles and the album covers. No liner notes, no lyrics, no
information - that's surely a big chance missed. But the pro side: I always hesitated to spend seven
euros for an Ayers album which merely includes 20 minutes of music which are really good; this
collection is damn cheap - and it includes the BBC sessions, although it sadly lacks the full-length
BBC concerts from 1970 and 1972.

But when listening to the Ayers albums I started wondering if this guy simply doesn't require
recording a full-length album of good music, or if he actually likes this tacky and lazy pop music
which he stuffs into most of his albums. He's an absolute songwriting talent and could have made
albums like Whatevershebringswesing become a masterpiece, but he preferred recording lots of
R&B, soul, pop and country music inbetween his pieces of sheer beauty, and that dropped it all quite
a bit.

Bananamour is different to that effect that the pop numbers on the album are quite good. You
don't get songs as storming as Lady Rachel or Rheinhardt&Geraldine, but quite a lot of
solid four-star-songs - and few below the three-star-level.

First of all: the masterpiece on this album isn't Decadence, but rather Hymn , a tender
psychedelic ballad featuring Leslied acoustic guitar, laid-back bass lines in the vein of Roger
Waters and delicate tinkling piano. I absolutely adore this melismatic cascade of melody which Ayers
sings there (double-tracked!), and Robert Wyatt provides some restrained backing vocals which do not
sound as distinctively wyattish as in Whatevershebringswesing, but this contrast of Ayer's
bass vocals and the high-pitched backings really sound similar and similarly convenient. Wyatt - at
least I think it's him - also provides an interesting percussion arrangement which is totally
reduced to the bone; it's just a percussion click track like in Matching Mole's O Caroline
and it's all which this song needs. A flawless song, and the doubtless five-star-candidate on this
album, and the only one of that sort. Maybe apart from the subsequent Beware of the Dog ,
which is really brief, but perfectly beautiful under these circumstances. It moves from a lovely
British brass band arrangement by David Bedford - and I mean a British brass band with pastoral horns and
trombones, and not a big band - to a rousing finale with Ayers paying (whimsical) tribute to his
bonvivant life to majestic backing vocals and an orchestral drum roll. But why is it so short?
Bedford stretched out his avantgarde brass arrangements quite a lot on There Is Loving from
the previous album, and now that he's finally doing something really tuneful he does it too briefly.
Excellent it is notwithstanding.

The best of the four-star-songs is Interview/Internotional Anthem , also available in a BBC
version with spoken vocals and an extended organ playout. It's got a weird percussion rhythm, weird
due to its minimalistic funky sound, and in a way everything else in these five minutes is weird, too. The spooky
reverberated bongos, the Chris Spedding-like rockabilly madness of the two guitars - including acute
whammy bar violation - and then there's Mike Ratledge fiddling around on his Lowrey album just like
in the days of early Soft Machine. But it's sounds really unusual because Ayers' distorted vocal
melody is completely rock'n'roll, but it just sounds as if it was played in slow motion.
Internotional Anthem takes the chord progression of the album opener Don't Let it Get You Down (For
Rachel) and the melody/lyrics of Interview, performed by the Dark Side of the Moon backing
vocals section (Doris Troy etc.). What they're singing in these 45 seconds is just too hypnotic to
be soul/R&B and - again - it's a short track which is more than just a filler.
This is actually the closest Ayers came to a coherent construction of an album. I'd never have
thought that Ayers would reprise the opener of an LP at the end of side A - without playing it all over again.

And Don't Let It Get You Down is a damn fine opener itself. Okay, the main riff is perhaps lifted
from Pink Floyd's Echoes - just like A.L.Webber ripped it off from a disgruntled Roger Waters
for the famous Phantom of the Opera title melody - but the chorus which gets louder and
louder while modulating higher and higher through the chord progressions is close to (pop) perfection, as well as the
boozy melody in the verses. And you get the total Steve Harley glam rock feeling because of Ayers' lead vocals
which are recorded through a Leslie speaker in tremolo mode. The fairly American brass section and
the backing vocals by St.John/Strike/Troy keeps it all down-home, but it's not at all distracting.

Then there's Decadence , Ayers' tribute to German singer Nico who he found fascinating. It's a
damn good atmospheric song with Steve Hillage's droning guitar mantra and some spacey lead guitar,
the ever-constant Hammond organ chord and synthesizer bass note which are kept from the beginning to
the end and the Gong-like drum rhythm which doesn't appear before the second half of the song. I
didn't realize how much is going on there in the last few minutes of the piece until now, especially guitar-wise, that means
after Ayers starts chanting 'Marlene' over and over. The problem is that I still cannot
really follow the music of Gong (same case with Hawkwind) because it's pretty monotonous, but if you like the stuff like Angel's
Egg and You you should love this piece, too.

Steve Hillage also plays on Shouting In A Bucket Blues , an intelligent and tongue-in-cheek
pop song sounding a wee bit like Bob Dylan or Cat Stevens. The interesting detail: Hillage plays one
lead guitar track throughout the album, but also a feedback-laden counterpoint in another track, and
it's the mixture of both which creates this special floating mood. But the piece, comprising a nice
jazzy chord progression in the stanzas and a catchy chorus, would also be above average without the
guitar contributions. The BBC version in the new reissue, however, is just the same version as the
album version - even in the same sound quality. I'd like to know who is responsible for this crap research; certainly no-one who has any relation to Ayers' music.

Oh! Wot A Dream is built around a loop of bass drum, guiro, a duck quack and sounds of
glasses and should be a tribute to Syd Barrett. And it's that whimsical percussion track and the
Barrett relation which save this pretty naive country pop song from being a let-down.
Whatevershebringswesing was country, as well, but a lot more artfully ambitious regarding the
hypnotic bass line, the deep vocals and Oldfield's wonderful and faintly psychedelic guitar solo.
Oh! Wot A Dream is a beautiful, but not too memorable song - even I though I have to grant that the
chorus, somehow a bit similar to the chorus of ELP's Lucky Man, is really catchy. The BBC
version featured in the new box set is quite similar, but a welcome addition thanks to the increased
campfire feeling.

The only piece which simply doesn't fit in with the rest of the album is overly lengthy When Your
Parents Go To Sleep . The problem isn't the American big band sound of this song; I must admit
that some of the brass melodies, for instance this cool A-G hook at 1:39, in a sense make up the
best component of this song. It's quite considerable that there are many soul ballads around, even
by famous soul artists, which don't feature such a competent hook anywhere. But that song is too darn long for an R&B
number, and the fact that Archie Legget sings lead vocals in a Ray Charles-like manner isn't good
news either. Kevin Ayers albums are pretty tricky affairs because there are so many genres mixed
which I even do not like too much when they aren't mashed up; it's just because of Ayers and his
special attitude to singing and playing that I can get into this eccentric mixture, and when somebody else sings it just doesn't have a lot to do with Ayers; then it's just the work
of a good songwriter. I would appreciate such a song on an album like The Last Waltz by The
Band, but it just won't blend in this kind of record.

Now let's talk about the remaining bonus tracks, which is the outtake Connie on A Rubber Band
and the single Caribbean Moon with its b-side Take me to Tahiti . All of these songs
are in some way reminiscent of a holiday on La Palma or somewhere at a Caribbean beach.
Connie on a Rubber Band is a reggae version of Ayers' classic tune Clarence in
Wonderland, and although I like the live version by Ayers & The Whole World most, it's still by
far more satisfying than the oddly hectic version from Shooting at the Moon. Instead you get
a relaxed Hammond organ, muted guitar melodies and a groovy drum rhythm. It's pop all over, but as
an appendix to the studio album it's enjoyable.

Caribbean Moon doesn't have more substance than the Strawbs' Part of the Union. It
seems Ayers always tried to finish one or more completely ridiculous songs per year, and this time he
surpassed himself in ridiculousness with greatest advance. I mean, the song itself is already banal with its
completely stupid refrain ('caribbean moon, yellow, yellow (x3), caribbean moonshine all
night.'), but you have to see the video accompanying the song: Kevin posing with an ukulele,
dancing and swimming through a blue papier mache in a boat with some naked guys wearing just some
underpants spangled with lemons and bananas. It's one of the music videos you have to have seen in
your lifetime!
Take Me To Tahiti is a slightly more serious pop song which is upbeat, but which also
features vibrating and shimmering glam rock guitars and some strange backwards vocals in the middle.
And, of course, the banana appears again in the lyrics.

All in all, I like this album a lot more than the pseudo-intellectual chaos which destroyed
Shooting at the Moon. And it might be even a bit better than Whatevershebringswesing
because there's a better structure here - and neither an annoying Oh My! nor a Champagne Cowboy
Blues. Don't expect any jazz fusion or psychedelic rock, except for in Decadence,
but rather a varied and perfectly listenable insight into the strange vision of an eccentric
songwriter. The good news: with this album you don't have to suffer several minutes of utterly bad music. It's surely no
masterpiece, but in any case a welcome addition to a collection of Canterbury music and pop music
far away from uniformity. Recommendable!

Progarchives nuevos discos: HEADSPACE - I Am Anonymous (Heavy Prog)

Fri, 18 May 2012 22:49:06 +0200

[Studio Album · 2012]

1. Stalled Armageddon (8:07)
2. Fall Of America (10:28)
3. Soldier (3:44)
4. Die With A Bullet (8:25)
5. In Hell's Name (9:31)
6. Daddy Fucking Loves You (15:00)
7. Invasion (8:28)
8. The Big Day (9:54)

Total Time: 73:37

CD InsideOut Music (2012)

Progarchives: ILOUS AND DECUYPER Ilous and Decuyper (Prog Folk, 1971)

Fri, 18 May 2012 22:07:22 +0200

Review by Evolver — Here is an interesting album from 1971. I'll admit to not having much prog folk in my collection
besides most of the Jethro Tull albums, but I have been known to enjoy bands like Fairport
Convention, Pentangle and the like.

Bernard Ilous and Patrice Decuyper borrow from quite a few sources. The opening track (and
elswhere on the album) sound like Beach Boys style harmonized vocals. Elsewhere there are
tracks that sound more like Crosby Stills and Nash, Jefferson Airplane, one even sounds a bit
like Jethro Tull's Mother Goose, and another like the Rolling Stones.

Lyrically, I can't tell you much, as it's been forty years since my French classes. The only song
in English is a spirited (and excellent) cover of The Beatles' Eleanor Rigby.

The album isn't as complex, or even as folky as mos of the prog-folk I am familiar with, but it is
fun.

Progarchives: DAVE WILLEY Immeasurable Currents (RIO/Avant-Prog, 2011)

Fri, 18 May 2012 21:53:46 +0200

Review by Mellotron Storm — 4.5 stars.Dave Willey is the leader of HAMSTER THEATRE and he's also been a part of
THINKING PLAGUE since the "In Extremis" record playing mostly bass and accordion. This
is a very special album for Dave as the lyrics were all taken from his dad's book "The Tin
Box Papers And Other Poems". His father is no longer with us sadly but man would he be
proud of this recording. What also makes this significant is Hugh Hopper's involvement.
Dave related to me that he met Hugh as well as Elaine Di Falco(who sings and plays on
here and was part of Hugh's band back then) at the Progman Cometh festival in Seattle in
2003. Hugh's HUGHSCORE band and Dave's HAMSTER THEATRE group shared the
stage. Dave and Hugh exchanged addresses and sent each other tracks through the mail.
Dave said that for a project such as this he could only work on it when it felt "right". He gives
Udi Koomran a lot of credit for rescuing Hugh's music from his computer. So the "&
Friends" of this project include Deborah Perry, Elaine Di Falco, Wally Scharold, Hugh
Hopper, Mike Johnson, Dave Kerman, Farrell Lowe and more. The first time i heard this it
felt like a combination of THINKING PLAGUE and ART BEARS. Again the lyrics play a major
role and they sort of grab you by the heart. The combination of these words with this style of
music is a very powerful experience. "Too Much Light(Lonesco's Theme)" hits the
ground running with vocals(Deborah & Elaine) and some fairly heavy music. An accordion
solo a minute in then the vocals return but not for long as we get a calm. Reserved vocals
before 3 1/2 minutes to end it. Check out the lyrics though ! "The Old Woods" opens with
the music sort of starting and stopping as this is repeated until the vocals(Deborah) arrive
a minute in. Themes are repeated. It does turn experimental with water sounds 3 1/2
minutes in. Vocals return and they are psychedelic and dreamy. Hugh plays bass on the
second half of this track. Again the lyrics are so good like "How can we tell what's human
when these woods are gone?" And you should read the words to the next song "If Two See
A Unicorn". Prominant drums and vocals(Deborah) and it becomes catchy late before
ending in a dark and chaotic manner. "What A Night" has this thick atmosphere with vocals
(Deborah). Hugh on bass and Mike Johnson on guitar here. "The Conservatives" has a
catchy beat with whistling as vocals come in quickly. Abrasive guitar follows then vocal
melodies and more whistling. The lyrics are brilliant. "Winter" is an incredible piece of
music composed by Elaine. We get bassoon, accordion, clarinet, viola, piano and cello.
Vocals by Deborah and Elaine. It's so eeirie 1 1/2 minutes in when the vocals stop. "I
Could Eat You Up" kicks in quickly then the vocals(Deborah) join in in this uptempo barn-
burner. Kerman is on the drums here. A calm before 2 minutes as haunting vocals join in. It
kicks back in late. "Wordswords" is heavy and slow with vocals. Spoken words before 3
minutes in a dark soundscape. This is like UNIVERS ZERO meets COMUS. "Autumn" has
reserved vocals(Elaine) with piano with dripping sounds. "Mitch" has Dave on vocals in this
dark and deep soundscape. Check out the lyrics here. Harmonium too. "A Garland Of
Miniatures" has emotionless vocals(Deborah) with accordion and harmonium. Music by
Hugh Hopper. "Nightfall" is such a cool track with those loops from Hopper along with the
vocal(HAMSTER THEATRE) loops that create a spacey and dreamy backdrop to the relaxed
vocals. Dave also mentioned that it was a very emotional experience to continue
recording this with Elaine after Hugh's passing and that it was unfortunate that Hugh wasn't
able to listen to this finished work. Fans of THINKING PLAGUE, ART BEARS, 5UUs and the
like should not hesitate in seeking this out.

Progarchives: EDGE OF SANITY Crimson (Tech/Extreme Prog Metal, 1996)

Fri, 18 May 2012 21:16:10 +0200

Review by zravkapt — Edge Of Sanity are one of the many bands to come out of the Scandinavian metal scene. Dan
Swano is the leader here but would leave after this album. I'm more familiar with his work in
his other projects rather than in Edge Of Sanity. Crimson was one of those albums I had
heard about and wanted to hear. This is currently out-of-print AFAIK and if you cannot find it you
will not be missing a masterpiece of prog. You will find a very good death metal album though.
The proggiest aspects of this album are the fact that it is a 40 minute song and it reprises
earlier sections. It does not flow like an epic but rather sounds like 8 or 10 different metal
songs all cut up and edited out of sync. Mr. Opeth, Mikael Akerfeldt guests here on guitar and
vocals. There is some growling on the album but thankfully it's not the only kind of singing.
Starting out with growling and heavy riffs it quickly calms down before staying in a death metal
style for awhile. Eventually some modified 'normal' singing and clean guitars for awhile. Some
piano as well. I like this section. Then some Spanish style acoustic guitar. A part that reminds
me of Pantera before before some fast speed metal/death metal stuff. A repeated guitar figure
with some vocals that remind me of Type O Negative. What sounds like violin around 8
minutes. Another clean guitar/non-growled vocal part. Sounds like some keyboards before it
goes into Tool like drumming. A short spoken word section with great guitar playing. More fast
sh*t and growling. After 13 minutes great bass with those Tool style drums again with some
good mini-soloing from guitar. More fast sh*t and screaming.
Nice thrash groove around 15 minutes. Really love the drumming before just before 23
minutes. Type O Negative style vocals come back. The riff starting before 25 minutes sounds
like a Type O riff. More fast sh*t. More clean guitar stuff with some very alterna-rock type vocals
(think Creed). A decent guitar solo at one point. I like the echoed/delayed/chorused/whatever
guitar parts although you only briefly hear them once in awhile. More fast sh*t. The music
stops after 32 minutes or so and then you hear a great a cappella part with studio altered
vocals. This album needed more unpredictable parts like that. You know what follows that
part? More fast sh*t. The Type O riff from earlier starts to get played slower and slower. This
leads to the conclusion of the piece which features some good symphonic keyboards. A little
more spoken word. Ends with the growling and heavy riffs of the beginning.
I don't really care for the beginning and ending of the album; starts and ends too abrupt for my
tastes. I like the album cover although I'm not exactly sure what it is. There is nothing here that
wasn't already being done by at least 1992. Nothing very original but a consistent metal album
from the 1990s. Of interest to prog fans but nothing essential. Not as great as I originally
expected but after several listens I certainly enjoyed it more than the first listen. My final verdict
will be 3 stars.

Progarchives: THE SOFT MACHINE The Soft Machine (Canterbury Scene, 1968)

Fri, 18 May 2012 18:53:36 +0200

Review by the philosopher — The Soft Machine is one of the most influential proto-prog groups together with The Mothers of Invention, Pink Floyd and Miles Davis. These groups were never called proto-prog because they do also fall into other categories. These groups did belong to the psychedelic rock or avant-jazz movement in the 60's and were a great boost for the progressive scene which was yet to emerge.

This record contains short tracks like the most psychedelic rock bands. The key-bass-drum
set-up sounded a lot different then the later Emerson, Lake & Palmer and became known as the Canterbury sound. This may be the first Canterbury record, although The Mothers of
Invention did used similar soundscapes. The songs are funny and optimistic like "Everyday I'd like an egg and some tea, but after all I do like to talk about me!". While The Soft Machine
sounds not so professional as in their later releases this works out as a benefit in most
occasions: it sounds very fresh and enthusiastic.

The record begins with a dual vocal piece with Robert Wyatt and Kevin Ayers on the vocals.
This sounds a bit naieve, but I do really like it; it's so extremely catchy! On the first side there are some great drum sessions. It's some kind of drum solo with lots of psychedelic key tunes and bass riffs. This may be one of the biggest advantages compared with other psychedelic rock bands: the great drumming skills of Robert Wyatt! Also Mike Ratledge on the keys is showing incredible stuff.

I would rather call this record a psychedelic piece then a Canterbury piece, but this already has the Canterbury soundscapes and funny lyrics. This record is a psychedelic masterpiece and hardly advised for psychedelic rock and Canterbury fans.

Progarchives nuevos discos: MOONSPELL - Alpha Noir / Omega White (Tech/Extreme Prog Metal)

Fri, 18 May 2012 18:50:09 +0200

[Studio Album · 2012]

DISC 1: Alpha Noir (40:34)
1. Axis Mundi (4:56)
2. Lickanthrope (3:49)
3. Versus (3:39)
4. Alpha Noir (4:39)
5. Em Nome do Medo (4:28)
6. Opera Carne (3:52)
7. Love Is Blasphemy (4:31)
8. Grandstand (4:53)
9. Sine Missione (4:57)

DISC 2: White Omega (38:10)
1. Whiteomega (4:21)
2. White Skies (3:34)
3. Fireseason (4:29)
4. New Tears Eve (4:45)
5. Herodisiac (4:46)
6. Incantatrix (4:40)
7. Sacrificial (4:11)
8. A Greater Darkness (7:24)

Total Time 78:44

LP Napalm Records (2012)

Progarchives nuevos discos: UNWRITTEN PAGES - Fringe Kitchen (Progressive Metal)

Fri, 18 May 2012 16:59:34 +0200

[Studio Album · 2012]

1. Hejo (2:37)
2. Asylum Tragedy (3:42)
3. Intoxicating Sweets (5:42)
4. Perfect Incentive (6:58)
5. Cloud Infinite (7:27)
6. Terminal Defect (8:24)
7. Kaleidemote (5:53)
8. Wasted Land (6:19)
9. Auxiliary Influx (6:58)

Total time 54:00

Progarchives: NATIONAL HEALTH Of Queues and Cures (Canterbury Scene, 1978)

Fri, 18 May 2012 16:57:53 +0200

Review by AtomicCrimsonRush — Canterbury darlings of jazz rock National Health followed up their debut with a delightful musical
triumph "Of Queues and Cures". One would hope, having enjoyed the debut, that there would
be more of the same, including Amanda Parsons beauteous vocals, and a lot of inventive jazz
fusion. It is missing the vocals this time round but still delivers, perhaps even moreso than the
debut musically speaking. The guitar melodies of Phil Miller, and Dave Stewart's keyboard
wizardry along with the sporadic jazz drumming of Pip Pyle, return on this followup and bassist
John Greaves inventive rhythms replace those of Neil Murray, and he even has a stint at
crooning on 'Binoculars'.

The album cover features a jar full of ears and perhaps this symbolises that to enjoy this album
you need to put on a new set of ears. This will appeal to those who like fractured time sigs and
extreme jazz and I am certainly one who enjoys prog with broken time sigs and innovative
experimentation. It begins with sweet whistling birds and Stewart's lulling keyboards and
suddenly breaks into jazz figures to tantalise even the most disconcerted music listener.

'The Callapso' certainly moves into many competing musical shapes, with strong textures of
bright colourful rhythms and dynamic soloing on guitar. This is followed by a positive
experimental string dominated moody piece called 'Squarer for Maud' clocking 11 and a half
minutes. It sounds like a cat stalking in a dark alley in the intro. The atmosphere is darker and
the fuzz on the guitar is very appropriate. The jazz outbreak works well, along with the
percussion finesse. It even has odd time sig changes that unsettle and are hard to pin down in
places. This is a triumphant instrumental with huge variations in pace and rhythmical structure. I
gave up counting the time sigs as it becomes highly complex in the mid section with a massive
time shift and then it suddenly breaks into a weird narrative. The narration reminded me of King
Crimson's Indiscipline. After this the guitars soar in again and there is a strange time sig that
never sounds quite right yet works against the keyboard motif. It is great to hear so many
instruments competing against each other. This is the best track from the band and well worth a
listen to see how genius music can be played if one is versatile enough. The ending is
masterful with scratching violins answering a jaunty beat that never stays on one bar for long.
At the end of it I am exhausted and can't wait to play it again.

'Binoculars' is another lengthy track to savour the musical palette. Stewart's keyboards are
spacey and emotional, and then we hear the vocals of Neil Murray. It is a pleasant break from
all the instrumental work and sounds decidedly like Robert Wyatt with quite a bit of humour in
the lyrics; "mule kicks, nerves twitch, legs kick, it's a shame to say you're such a bore today,
your expression has gone away, If you just sit on your arse, the whole world won't pass, it's
such a farce, it was quite insane?" All in all this is quite a nice song with a whimsical
Canterbury flavour. The majestic flourishes in the mid section are wonderful. A classic song by
any standards.

The album does not disappoint, as it is replete with full blown experimental jazz shapes and
innovative musicianship. This album is a more mature approach though I missed Amanda's
vocals. There is a great deal of brass on this album and it shines as a great example of
Canterbury prog in the same vein as Matching Mole or Hatfield and the North. It is another
album that cements National Health's reputation as one of the best Canterbury or jazz fusion
acts in the business.

Progarchives: ANGELO BRANDUARDI Futuro Antico VI - Roma e la Festa di San Giovanni (Rock Progressivo Italiano, 2009)

Fri, 18 May 2012 16:48:38 +0200

Review by octopus-4 — The "Futuro Antico" series continues with the first of the two albums dedicated to Rome.

We are at the court of the Popes between 16th and 17th centuries. The "Festa" of "San
Giovanni"(St John) is an event still celebrated in St.John in Lateran square in Rome each
24th of May, and it's exactly in that place in 2009 that this project was presented for the first
time.

Let's ignore the bad accent. Speaking with roman accent is very uneasy for non-romans and
Branduardi's accent is not credible. However, the historical and musical research have
found some very interesting forgotten songs.

"Prologo - Le Streghe"(Prologue - The Witches) is the story of a man who falls in love with a
witch. It starts as a poetry, then it's only voice and dulcimer. The lyrics are very nice. "If all the
witches are like you, I'm no longer afraid, I want to see them". But it ends with an advice: "If
you see women walking alone by night don't touch them. When the fox walks alone by night
brings the wolf to the trap".

"Coro De Demoni" (Demons' Choir) is an orchestral instrumental. Try to imagine
Blackmore's Night playing ancient instruments. This is the difference: it's not reprising and
arranging medieval or renaissance music. It's playing it as it was supposedly played at
these times.

"Forestieri Alla Ventura" (Strangers To The Fortune) sounds like a jester's or tumbler's song
and probably it is as the author is anonymous.

"Gagliarda V" (Galliard V) is a one minute instrumental to which the strings add a very
baroque flavor.

It's followed by "Preludio"(Prelude) that's a baroque guitar solo. For lovers of classical
guitar.

"Cinta di Rose" (Surrounded by Roses) is a a hymn to beauty and Nature.

"Passacaglia Della Vita" (Passacaglia Of Life) Passacaglia is a genre of composition, slow
and sad. "You cheat yourself thinking that the years won't end. We all have to die, life is a
dream". So it's more about death than about life. Good for a funeral but the melody is very
good.

"Balletto delle Virtu'" (Ballet of Virtues) balances the funeral darkness of the previous song.
It's a minuet, not very happy, but very far from the previous deadly song.

"Segui Dolente Core" (Follow Painful Heart) Is a song about a painful love. A non
corresponded lover sings about his endless pain. Viola, guitar and voice for a sweet and
sour song.

"La vecchia" (The old Woman) is a funny song about a very old woman who is more than 90
years old and sings happy. She doesn't care of her age and lives her life happily. It sounds
like a jester's song and has a rhythm very similar to an Irish ballad.

"Corrente V Gagliarda I" is not a single song: Interpret it like "Corrente number 5" followed
by "Gagliarda number 1": two instrumentals tied together by the author, the German
Kapsperger who was a virtuous of the theorbo.

"Affacciati Uno Poco"(Face A Bit) is a serenade with a strong baroque flavor. A pop song of
the 16th Century.

"Tre Sorelle"(Three Sisters) is one of the most interesting songs: Krautrock from
Renaissance? I'm joking of course, but this song sounds incredibly modern.

"Damigella" (Young Lady) is another popular song. The Lady of the song is not properly a
princess. She is asked to "pour her wine and let her dew fall". It was probably dedicated to a
real person.

"L'ultimo Di De Maggio"(The Last Day Of May) announces the end of the album. St. John is
celebrated on the 24th so we are one week after. Branduardi is the speaking voice (as in
the first song), and the poetry is another story of painful love. On this song Francesca Torelli
shows an excellent voice other than being an excellent guitarist and the orchestra director.
How can some people be so talented?

However that's not the last song. The album is closed by a "Tarantella". Despite the most
known tarantella, this one has a slow tempo and is an excellent instrumental featuring
spinet and flute, two instruments very often used during the Renaissance in Rome and
Naples. It's only after about 3 minutes that the percussion and the tambourines make it
recognizable as a standard tarantella. A complex song made of at least three different
sections.

So what to say of this album? As all the "Futuro Antico" collection it hasn't anything prog. It's
ancient popular or classical music rediscovered and reinterpreted with the same ancient
instruments. Who likes prog-folk with its roots in the past, like the mentioned Blackmore's
Night, or even Pentangle, early Clannad or Malicorne will probably like also this.

A very interesting collection from a "cultural" point of view. A non-essential album for the
prog world.

An average rating.

Progarchives: GPS Window to the Soul (Neo-Prog, 2006)

Fri, 18 May 2012 16:18:59 +0200

Review by Tarcisio Moura — After reading South Side Of the SkyÂ´s review of this album I went looking for this CD. After all, I
liked Asia with John Payne and the prospect of an album with such great musicians as two former Asia
members (guitarrist Guthrie Govan and drummer Jay Schellen) and with the participation of SpockÂ´s
Beard keybordist Ryo Okumoto, promised great things. And I was not disappointed. In fact, apart from
a couple of OkumotoÂ´s synth solos (more on the fusion side), Window to The Soul could be easily
mistaken for a long lost Asia record. And a very good one by the way! In fact, IÂ´d put it shoulder
to shoulder with PayneÂ´s best efford with that group (Silent Nation).

All tracks are good, the production is excellent and the band is really smoking. I really donÂ´t
understand why PA labeled it as neo prog. There is nothing like that here. What we have is the usual
AOR/melodic rock with a few prog hints here and there, played by skillful musicians and sang with
passion and conviction by Payne. Prog related would be much more fitting, I guess. So IÂ´m warning
you: if youÂ´re looking for neo prog stuff, forget it. On the other hand, if you like catchy, melodic
tunes with great hooks, jump on it! Maybe the best feature on Window To The Soul are the strong
compositions, with not a single weak track on the entire CD. Best songs: New Jerusalem, Heaven Can
Wait and Written On the Wind.

Rating: if this was an AOR/melodic rock site, Window To The Soul would be a five star CD. Since PA
is not and there is so little prog on the album, I canÂ´t do it. However, due to the high quality of
the songs, the excellent perfomances and the brilliant production, a less than 4 star rating would
be unfair. Definitly recommended to any Asia or melodic rock fan. Like the previous reviewer said,
GPS should not be overlooked. A very good surprise.

Progarchives: ESA KOTILAINEN Ajatuslapsi (Progressive Electronic, 1977)

Fri, 18 May 2012 15:57:49 +0200

Review by Guldbamsen — Spiritual Labyrinth

Music can be such a powerful thing. It can literally sweep you off your feet and catapult you into the
most treacherous and bewildering of places, where you struggle to find heads or tales to anything.
Reality suddenly looses all meaning - and meaning itself becomes something like a little red bunny
speaking in Japanese with a voice like the roaring exhaust pipe of a racing red Yahama motorcycle.
BRRRWWWUUOOOOWWWWNNN BRRUUOOOWWWWN - why don't you.

Take this record for instance: No matter how many times I listen to it, I fluctuate between zig zagging
down to the great pyramid of Giza - roaming the endless yellow corridors of sand and whirling dust, and
then swooping effortlessly up in a marvellous futuristic elevator, that kindly scoops me up like a
contourless gulp of lard only to wuuuuuuuuuuuuuuuuuuuuiiiiiiiiiiiiiiihhh straight up in the everlasting black
infinity of space. I am completely helpless of course - there's really nothing much I can do about it, but
that's the thing: it feels good to feel helpless and insignificant compared to the mighty empire of
surrounding entities such as nature, space and beyond. Music can, if you're lucky, demonstrate this
powerful and humbling experience, which both makes you tiny and frail, but also significantly larger than
yourself and your doings - pointing you towards a greater understanding of all these red lines running
through our solar system - connecting dots, people, incidents, stars and matter. I feel this bond
intensely whenever I listen to Ajatuslapsi.

I've been thinking about the next natural thing to write about - in this my small but invigorating Finnish
review excursion, and that is to highlight a shining beacon of electronic sound, that had a huge part in
both Tasavallan Presidentti and Wigwam's success. Esa Kotilainen is the man's name, and he
additionally played on Jukka Tolonen's solo albums, as well as cementing himself as one of the first
Finnish musicians to master the terrifying robotic scope of the moog. It's not like you can hear where
this man started - that he openly transcribed his input from those early days within Wigwam and TP, no
no. Instead of capitalising on efforts of past and producing a melodic jazz rock dominated affair with
heaps of swirling organs, he opted for a difficult to digest, labyrinthian, obscure and introvert sound to
cover his debut album in.

I'll go ahead and start my musical translation by saying that this probably isn't for everyone, but to call it
avant-garde is also kind of missing the plot by a considerable amount. The first cut Unilassa should be
the perfect example of this methinks. It starts things off with some harmonic swirling organ winds that in
time are transformed into a tiny whispering note, that now becomes the very ground on which a
synthesizer commences its melodic four noted serenade. Things turn for the electronic and move
towards the early Berlin School of sound, to which I'm reminded of both Tangerine Dream's Ricochet and
Schulze's tantalizing Timewind. These are however only small hints - tiny fragmented scents of
Germany, for what this piece does next is beyond any sort of musical comparison. It's here you get
delivered the giant pyramid of Giza in all of its splendour - shining like a glistening sand ruby. The music
incorporates a few Arabian scaled notes into the proceedings - done with such an impeccable touch
that it almost transforms into an electronic styled fugue from the outskirts of the Egyptian desert. You
then get snippets of organ and wonderfully shimmering string electronics that sound like the reflection of
a white sun in a streaming river. Ending back in the north the piece shape-shifts and gives off a distinct
folk vibe with the add on of the accordion and a Finnish instrument called a Kantale. It's beautiful and
disturbing all at once. It deceives you in a good and entrancing way, and I personally feel as if I could
sleep for a week after this sonic maze comes to an end.

The next couple of pieces all display Esa's imaginative take on music. He deliberately seeks the difficult
and loose in music, but then again it never sounds forced or 'academic'. He knows what he wants, even
if the music has a way of sneaking up on him in slow multiplying masquerades. I guess you could call
this sonic shadow-boxing. He opens himself up to these panoramic inclinations and then develops the
musical image en route. It sure sounds like that anyways...

Another little thing which I personally think is downright brilliant, is the manner in which bird tweets are
glued onto the second track. They suddenly fill up the musical space like a huge natural being - only to
be replaced by black ominous synth burps plodding, fluttering - sounding like a regular robot out of
Mordor. Again, it shows a musician unafraid to jump from one extreme to the other, and in doing so he
actually shapes the thing that makes him stand out from a hundred late 70s electronic artists.

All of these pieces could be considered as meditations on themes, orchestrated bewilderings - loosing
yourself on purpose. To launch oneself into unknown sonic pastures with but a mad Finnish synthesizer
guru at the helm. I've done it several times, and I would employ you to do the same, if you indeed are
looking for that ever fleeting spiritual labyrinth made up of sound and images emerging from behind your
eyelids. 4.5 stars with the chance of 5 in the near future.

Progarchives: ARTENSION Into the Eye of the Storm (Progressive Metal, 1996)

Fri, 18 May 2012 15:03:38 +0200

Review by octopus-4 — I have reviewed a boring album just after lunch...I need to wake up, so give me some metal...

I have discovered the Artension, a band based in Switzerland but lead by the Ukrainian Vitalj
Kuprij after suggesting the inclusion of him (rejected) on PA.
Vitalij is an orchestra director with a double discography: classical as director and metal as
keyboardist. He's one of those keyboardists classically trained and very fast, and his keyboards
are one of the most distinctive elements of Artension's music. Of course also the other
elements must be fast enough to avoid being just the keyboardist's support band.
The vocals of John West are clean and very standard for the genre and I think that this band
can easily been compared to the DREAM THEATER.

In this debut album, apart of the technicalities (all the band's elements are very skilled), the first
song which shows also an excellent songwriting is "Smoke And Fire". The instrumental
interlude driven by a great bass on which the keyboard solo is low-volume, so not invasive, has
fusion moments as it anticipates the metal-fusion genre which will appear more than ten years
after this album.

Another track which deserves to be mentioned is "Lost Memory" which starts with a classical
intro of classic guitar and piano. After a pause the theme is reprised by the band and the track
progresses still maintaining a classical mood but with a lot of rock, too.

Out of the highlights this album contains quite standard prog-metal skillfully played, but so
standard to be non-essential. It would deserve more than three stars but it's not enough for the
fourth. However I strongly suggest it to who likes fast played "symphonic metal", like YNGWIE
MALMSTEEN, fans of the genre in general and also people who likes classically influenced
keyboards. Even fans of Emerson and Wakeman can have some fun listening to this album.

Progarchives: EARTH AND FIRE Atlantis (Symphonic Prog, 1973)

Fri, 18 May 2012 14:42:08 +0200

Review by HolyMoly — Given this album's reputation as one of their more progressive releases, I was a bit disappointed by
it overall. The band has admitted it was kind of rushed, and it sounds like it. The title suite on
the first side has some really nice moments, but the main theme pops up a little too often and it
isn't that arresting a melody anyway. The second side, with titles like "Interlude", "Theme From
Atlantis", and "Fanfare" even looks like a group of disjointed ideas without an overall structure to
cling to.

With that criticism out of the way, I will say that Earth and Fire is one of my favorite bands, so
pardon me if I expect fantastic things from them. As I said, the title suite does have a couple of
interesting and charming melodies, and you certainly shouldn't be too disappointed if this is the
first thing you've heard by them. And "Fanfare" is actually a fine piece of instrumental prog, so
no serious complaints there.

The album also contains the single "Maybe Tomorrow, Maybe Tonight", the latest in a line of superb
pop/prog crossover singles the band delivered during the 1970s As per usual with this band, the
chorus of the song is very strong and catchy. It's not one of my favorite singles, but it's
actually a standout track on this otherwise confused album. "Love, Please Close the Door" ends the
album with a pretty ballad that's quite nice but still doesn't leave too much of an impression.

Overall, a good album, but they've done much better.

Progarchives: THE BLACK NOODLE PROJECT Stereoscope (Psychedelic/Space Rock, 2005)

Fri, 18 May 2012 14:12:09 +0200

Review by octopus-4 — As for the debut, also this album has strong connections: the first names that I have in mind
are PINK FLOYD of the middle period, MOSTLY AUTUMN instrumentals and even
MARILLION, so that I'm not 100% sure that psychedelic/space rock is the best fit for this
band.
Let's add that "STEREOSCOPE" is not properly a Black Noodle Project's album, but also the
name that two members of BNP gave to this temporary duo, so it could be considered as a
different band.

"The Typewriter" is an intro based on acoustic guitars, so folk to sound like BRYAN JOSH.
Very nice, slow and melancholic.

"Clouds At End" is very Floydian. Piano and acoustic guitars sound like the late PINK FLOYD
of the Division Bell and also the vocals are not dissimilar from Gilmour or Wright. As a Pink
Floyd addict I can't not like this song.

"A Minute of Eternity" starts with the same chords of NEIL YOUNG's "The Needle and
Damage Done", but develops in a very different way. It has a bit of country-rock flavor anyway
even if of the kind familiar for Pink Floyd, too. The vocal effects remind me "Point me at the
Sky".

Also "The Girl In The Paper" starts with chords not very original. I don't know what is, but in
this song there's something that identifies them as French. A nice neo-prog song. I wouldn't
be surprised to hear it played by the MARILLION of Steve Hogarth.

"Sleeping With U" is almost the same song...not better or worse than the previous, just
more pop-oriented.

"Open Book" seems to be part of a suite as it's quite similar to the previous two, but finally
we have different chords and a good guitar solo in MOSTLY AUTUMN's style (that's a Pink
Floyd style).

"1+1+=2" Proceeds on the same line: a slow song based on a rhythm acoustic guitar,
Gilmour-like solos and vocals like SIMON&GARFUNKEL. The dissolving echo on the word
"dreams" is not enough to sound Floydian.

acoustic guitar again....well it's a guitar duo so what can you expect? Probably something
like the first two promising tracks. Similar to the acoustic moments of PORCUPINE TREE,
specially in the vocals. If you are not already bored by this album, let's skip "Eva" and go
ahead.

"The Sun in Your Hair" at least starts with piano but on a very trivial melody. All this
sweetness can lead to diabetis...

"The Beauty With The Colt" comes unexpected. It demonstrates that mentioning Neil Young
was not too absurd. This song sounds like a classic country song. Why didn't they put a
banjo inside? If it has to be country let's make it as it should be.

"Upon a Sky Corner" sends us back to prog. The intro based on minor chords sounds like
the slowest moments of prog-metal bands. I have RIVERSIDE in mind, even if the guitar
has a lot of David Gilmour.

After all this anti-insomniac music calling the closer "Good Night" sounds like a joke. The
song make me think to PT's "Feel So Low", but not SOOOO good.

A frankly boring album with some good song and a lot of forgettable material. Each song
taken on its own can be listened, There's nothing particularly wrong with this album if not
the album itself.

Too much boring and trivial to have more than two stars. It's a pity because the first two
tracks are not bad.

Progarchives: DIMENSION ACT Manifestation of Progress (Progressive Metal, 2012)

Fri, 18 May 2012 12:57:23 +0200

Review by b_olariu — A new progressive metal band named Dimension Act from Norway with Manifestation of progress released
this year at Progrock records might give to some listners a very positive feedback, but to me after
more then 3 listnings I've said to myself eh another one of those bands that tries to make a name
in the overpopulated prog metal scene. The album and sound overall is not bad, only 4 pieces are
here, the last one clocking around half an hour is definetly the best piece band has to offer, the
rest are ok but far from being of a real intrest. For ex the Uncharted Waters - a very nice title
name for a piece but the music fail to impress me, I mean I've heared this kind of aproach
progressive/power metal I guess few hundred times in past year or so. If were not the last piece,
the epic Drawing the Lines of Mortal Existence, definetly this album was almost mediocre at best.
But this tune save the album, here we find some spectacular intense musicianship, specially on
first 5 min intro of the track, really impressive, and the music goes alternating more mellow parts
with more up tempo all arrangements being towards progressive metal this time more then on the rest
3 pieces. Very nice breaks, guitar sounds very complex in some parts and aswell some fine keyboards.
The voice I found to be ok most of the time nothing is special in his tone of voice anyway. In the
end a fairly good album, no groundbreaking moments for sure or original passages though. 3 stars is
the best I can give, fans of lets say Communic or in places Dream Theater might check this band.