Old Loves Die Hard is perhaps very aptly titled as it generally gets way less appreciation than previous Triumvirat recordings Spartacus or Illusions on a Double Dimple. Yet, listening to this without prejudice, there is much to like here, maybe even more than some would admit, firstly with the vocals of Barry Palmer it becomes immediately apparent that the man has some serious lungs, unjustly lambasted later by some unforgiving critics for his REO Speedwagon-ish timbre! Dick Frangenberg on bass is also a slight upgrade but the solid drums of Hans Bathelt and Jürgen Fritz’ deft wizardry are both more then up front and center, they shine. The 7 pieces here are cohesive, well-crafted songs that can stand on their own. “I Believe” is a fine example of Triumvirat’s obvious qualities, a simple melody taken to symphonic heights with spirited and inspired arrangements, fabulous vocal dexterity combined by charismatic piano, organ and synth playing from the master himself. The 3 part “A Day in the Life” suite begins by sedately weaving a quirky little melody along unsuspectingly morphing into a melancholic romp that puts the spotlight on Fritz’s unshakable “maitrise” on piano, his heroic fingers dazzling the ivories with resilient panache, romanticism at its musical best, the third part exploding into a symphonic Moog-fest, a stunning piece of classic prog-rock. Does it get better? The answer is a definite Yes! “The History of Mystery” Parts 1 and 2 are probably some of the finest music ever put down on tape by these German titans. The main melody is one immense hook, full of blustering pomp mixed with a flurry of expression, some magic melancholia, a dash of brazen bravado, a little playfulness and lots of lustful zeal. The theme is revisited repeatedly introducing intricate synths blaring, bossy organs aglow, zipping along at furious a pace, Palmer singing with passion and exaltation. Part 2 is a bold excuse for Fritz to show off his grandiloquent Moog skills, of which he has enough in spades. “A Cold Old Worried Lady” is essentially a vocal/piano duet of infinite splendor, vivid orchestrations adding to the overall fragility of the arrangement, almost like a proggy version of Elton John. “Panic on 5th Avenue” is the longest track here, a 10 minute plus prog meisterwerk, sirens blaring uncontrolled while the Hammond destroys everything in its bellicose way, the bass and drums hammering away pitilessly. This is where the Mannschaft gets to show its instrumental mettle, Fritz in particularly Kaiserly form, ruling over his multiple keyboard arsenal like a deranged madman, evoking images of Emersonian fury, Bathelt banging away with appropriate aplomb, the bald-faced bass rolling along like a steamroller . Even the organ goes “wow” on a few occasions, simply amazing music. Imagine a five minute synthesizer solo that is never overindulgent, boring or overtly technical, in fact it remains creative, even melodic throughout. The title track closes off the proceedings, a stirring soulful lament, expertly sung and brilliantly played, a true mix of classical symphonic prog with a massive dose of feeling. This unjustly underrated album is as seductive as the 2 better known icons but it has a mature cachet that is undeniable. 4.5 pretzels (Old Loves Die Hard!)

by tszirmay


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I read a positive review of this album and had to second the opinion. People unjustly dump on this album because Howe has departed and then label it as overtly pop.

Steve Howe is not missed by me at all on this album, as Mandy Meyer powerfully and melodically backs the core of Asia which is in my opinion the vocals of Wetton and the keys of Downes. Astra is very lush with melodies that linger. This album is far more progressive than the dismal Alpha which proceeded it.

Rock and Roll Dream which is the longest track is my favorite Asia song hands down. The shorter tracks have breaks in them similar to the first Asia, unlike the verse/chorus/verse of Alpha.

I can't say this is a five star album. I gave it five stars because within the Asia discography it is earned, and also do to the injustice it has recieved by previous reviewers.

by danzx


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Two Hunters is a haunting, emotional, soundscape that has become one of my favorite albums. This is not ordinary black metal by any means. It has the beautiful atmosphere of the Pacific Northwest, but the songwriting is unbelievable compared to all other black metal. This is not just a black metal album by any means. It pushes the limits of extreme music farther than before.

Many prog fans who are not used to blast beats, shrieking vocals, and trance-like guitar playing might over look this album at first. It takes multiple listens to realize how intense of a masterpiece Wolves in the Throne Room created with this album. Also, the fact that Two Hunters was recorded on analogue tape is a great bonus. I strongly recommend this album to fans of Opeth, Enslaved, and other extreme prog bands. Once you see the beauty of this album, you will never look back.

I will lay down my bones among the rocks and roots of the deepest hollow next to the streambed The quiet hum of the earth's dreaming is my new song.

by johan15


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I get a kick out of some reviewers saying ASIA went *too commercial* on their excellent _Astra_ album in 1985. This is an underrated gem with some really great hard rock songs and fine ballads. Too commercial? ASIA were commercial...isn't that a no brainer? But, what we have here is a solid album - even without the great Steve Howe playing guitar. This is mostly a trio album by Wetton, Downes & Palmer with Mandy Meyer(of Krokus) contributing his guitar colourings and rhythms. Palmer plays it solid behind the kit, nothing too flashy but drives the opener _Go_. _Voice Of America_ has some excellent vocals, some of the best ASIA harmonies put on tape. If you enjoy John Wetton's voice, this is some his best singing, especially the closer _After The War_. 1985 was a pretty depressing year for music, really. I mean, Twisted Sister were the hit and Poison were just about to let loose in destroying the ozone layer and the airwaves with their acid washed jeans and hairspray ditties. Let's keep things in perspective. If this were released today with the compressed hot mic world of Britneys and Beyonces, this would stick out like a sore thumb on the airwaves. Critics would rave at its harmonies and driving hard rock and it might even make the top 10. ASIA's _Astra_ was ahead of its time and pretty much an album on an island in 1985, right up there was Rush's Power Windows and would appeal the fans of neo prog bands like PALLAS, PENDRAGON and CASTANARC. ASIA's _Astra_ rocks as hard(maybe harder) as the debut, but doesn't get quite as sappy as _Alpha_. It sounds almost as though it were their follow-up to the debut. I surmise this album didn't get the attention it deserved because there was no tour to support it. That's too bad because they could've done a smash up job with a one-two punch on a live bill with Saga, Rush or Marillion. Ignore the one star ratings here. ASIA's _Astra_ should at least garner 2 stars at its worst, and 4 stars at its best making it a *good* album. Worth another try if you missed it the first time around. _Astra_would also appeal to fans of the Joe Lynn Turner-era of Ritchie Blackmore's Rainbow and Midge Ure-era Ultravox. Can you call ASIA's _Astra_ prog.rock? Not likely. But it's a great fusion of hard rock and New Wave. That in itself make this release *progressive* and a fine addition to any listener's collection with an open mind and appreciation for solid songcraft

by Gooner


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Everytime i read the title of this album it makes me smile.In the liner notes they thank GODSPEED YOU! BLACK EMPEROR and FLY PAN AM among others.This band is from Toronto and incorporate sax and trumpet into their all instrumental Post-Rock styled music.I found this album to be a difficult listen at times,it requires some patience.Interesting that 5 of the 7 tracks were recorded up near Port Hope,Ontario in a barn over a long weekend in August. "When Day Chokes The Night" opens with a slowly played guitar melody for over 3 1/2 minutes.It's joined by the bass after 2 minutes.The guitar melody stops then restarts after 4 minutes with brass and bass.It gets pretty intense after 6 minutes and then it calms right down to end as it began with that slowly played guitar.Cool song. "Minman" is mellow to start out without much going on.We get a beat before 2 1/2 minutes and a fuller sound 5 minutes in.The guitar is prominant late. "The Landlord Is Dead" is kind of ominous early with some nice bass.I like it.Brass comes in then a fuller and better sound at 3 minutes.The guitar starts to rip it up.Nice.It settles down to end it. "The Apartment Song" is laid back with gentle guitar and light drums.There is a brief outbreak after 1 1/2 minutes. "All Of This Is True" opens with drums before guitar joins in with horns.It builds to a climax 2 minutes in then calms right down.Some samples later. "Bruce E Kinesis" features a good beat until 2 minutes in when organ takes over.Drums are back before 3 minutes. "Goodbye Enemy Airship" is very mellow with horns and light drums.The drums do get louder and it kicks in before 5 minutes to a fuller sound.It's fairly repetitive to the end.Good song though. 3.5 stars although i feel i need to keep listening to see if it will grow on me more.

by sinkadotentree


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I bought this CD at DGM some time ago and have to say I love it. No King Crimson stuff on this one but plenty of Wetton Manzanera & Asia era stuff for your listening pleasure. Many have differing opinions about John Wetton and some of those opinions were getting very personal and ugly and I could never understand why... John Wetton should certainly be in the progressive rock hall of fame. Maybe even in the Rock & Roll hall of fame! It's certain that this man has the best yap in all of prog along with Greg Lake and Jon Anderson! He is the one of the original prog vocalists and he is also a fantastic songwriter. Why tunes such as JANE, SUZANNE, and THE LAST THING ON MY MIND never became hits in the USA is beyond me.

Perhaps his years with King Crimson will prove to be his legacy but this collection of solo and personal songs are more than worth owning and I almost (i said almost) prefer this softer side of John. Roxy music guitarist Phil Manzanera was typically in the background when playing for John but his precise and often beautiful touches are there if you listen. Many folks will regard these songs as POP or even crooner ballads... Maybe... but they really are some of the most well crafted and beautiful ballads ever put to record. Well engineered and a ton of material, this CD is a must have if you like John Wetton. I'm sure glad he survived that heart scare and I would hope to hear some more solo stuff from John Wetton. The only reason I do not give a 5 is because it's a compilation.

by Valdez


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The mellotron was supposed to signal a goodbye to silly psychedelia in favour of serious neo classical rock music, at least according to the Moody Blues and King Crimson. But once the genie is out of the bottle anything goes, so bands found themselves with their fingers in too many pies. All this inspiration and no direction. Such is the case with the Gracious! debut, which almost pulls off the impossible only to have the whole house of cards not so much fall down as dissolve in acid.

The group is all over the proverbial map, but the original Side One manages to work very well as a series of movements, the first aptly named "Introduction". It could have also been called "Overture", for it introduces the more coherent aspects of the next few tracks - strong at times angelic vocals, searing lead guitars, and of course mellotrons. But it is also excellent in its own right. It is followed by the beautiful "Heaven", consisting of a sumptuous vocal section borrowing playfully from ROD ARGENT and with a facetious view towards organized religion. The beginning and ending sections provide fine symphonic sequences and dynamics, making this track a standout. "Hell" is a different fish but also effective, fiery in parts and honky tonk in others - do the people in hell know where they are, or are they too busy whooping it up?

What follows is the unravelling, at first slowly, with the disparate ""Fugue in 'D' Minor" that still merits a good listen, but "The Dream" is an almost complete psych morass. With no anchor or glue, it floats aimlessly and takes on plenty of water. Smarmy snippets of various half baked improvisations do not constitute a viable epic or suite unless there is some underlying direction or statement. I get the feeling that what the band might have been trying to say could have been said more concisely, and perhaps was earlier in the album.

While still worth checking out, and a masterpiece for half its duration, in the end this album falls down several notches due to a lack of...graciousness.

by kenethlevine


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This is an underrated album. I give it 4 stars, it's a good edition to any progressive collection. In truth, it's not really that progressive, but it is in the sense that it's not like traditional rock and roll. The first two songs are 2 parts of one, and have been played together live in extended jams for around 14-16 minutes, on several bootlegs. The Gold It's In The... is a standard, cheerful sounding rock song, there are also some bluesy sounding influences as well. Stay is a nice calming song, and Childhood's end is a David Gilmour classic. There's some really great stuff on here, it really brings you into the mood of the movie. After all, it IS a soundtrack album.

I like this album a lot, not a SUPER MASTERPIECE, but it is good.

by HammerOfPink


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Nice music from Mexico!

Being a Mexican, i think it is always a pleasure to review albums from my country and what a better way of start writing reviews in this 2009 than with a mexican album.

Though this time my purpose is not really to support the band, since the band does not exist anymore, my purpose is to invite people and readers of progarchives to have a look to this part of the world, where there is also nice music and some great progressive rock bands or albums.

El Puente de Alvarado was a side project of Carlos Alvarado who played with Chac Mool and Decibel, and who has a been a prolific musician in the mexican prog scene, i had the opportunity of talking to him and even he helped me with the Bio of Decibel, and Ricardo Moreno who is the guitar player of a better known mexican band Iconoclasta and another good musician from my country, they along with some other people created El Puente de Alvarado and released in 1996 their only album called Conquista y Destruccion de Mexico-Tenochtitlan, the title shows their love for mexican music and culture, after all we all have some roots and ancestors.

The album has a total time of 40 minutes and contains 10 tracks, there is only one epic which happens to be the last song, and the other ones lasts 3 to 4 minutes average.

It kicks off with Espiritu Volatil and in the very beginning it shows some guitar riffs that let us know that guitar is probably the leading instrument and most recognizable, i actually notice that Moreno's particular style, since his guitar sounds pretty alike that in his Iconoclasta's works, the keyboards also play an important role here as another main instrument and as a background, nice melody.

The next one is Relieve Muro and stars with a strange sound as a manufacturer or something, and then a heavier and rockier guitar playing along with nice drums make the song, this is a powerful song and a clear example of why the band is under the Heavy Prog sub genre.

Fundacion is a very nice song with some strange textures and always predominant guitar riffs, the bass also does it nice and the keyboard work is pretty decent, there are some little time changes during this song.

Rosa Mexicano is actually pretty alike to the previous song, with a middle tempo track that suddenly slows down, showing some nice bass lines and always a guitar riff, whooops, i didn't mention at the beginning that this is an instrumental album, so don't expect any lyrics at all. This is a very nice song.

La Noche del Jaguar has some kind of slow march drums, then guitars that keeps playing and playing until the very end of the song, at the half of it, it has a little change and you will listen to the keyboards doing their contribution, it is one of their finest songs i believe, however the style is pretty similar to the previous tracks.

Duro como el desprecio starts with a strong guitar riff accompanied by synth as a background, addicting bass lines and an always constant drumming, despite being a short song i believe it is enjoyable and worth listening, sometimes it stops and always a sample keeps listening, then guitar enters again heavier and making a very nice sound.

Prisioneros hassome nice keyboard tunes and while listening to the song it transports me to some place, i mean it is a visual song where i imagine a man running for his life, besides the all previously mentioned instruments, here we will listen a saxophone which is a great addition to the sound, a fast and short, however pretty nice song.

El Orden de la Negacion has some spacey moments due to the synth, it sounds like an improvisation and in moments sounds like a nice song to close your eyes and meditate, a little different song it is.

Barbarie Simultanea is the shortest song and this is actually an improvisation i have no doubt about it, there is nothing more to add.

The album ends with it's epic called Conquista y destruccion de Mexico-Tenochtitlan!, the title track and the best song and proggiest of them all. Throughout the song, we will listen to soft moments, sudden changes and heavy moments, a drumming that always sounds constant and nice, a synth trying to take the leadership but what always predominates are the guitar riffs. A song divided in various parts but always returning to the same style.

After all, it is a nice album, by no meas the best example of what Mexican Prog is or can offer, there are better things believe me, but this is also good, my grade is 2.75 stars rounded to 3 stars!

Enjoy it!

by memowakeman


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Many people seem to hate this album a lot, and I never understood why. If there's an album I don't like, it's probably the Final Cut, because it's too... I don't know. It's not progressive enough for me. I do like that album, but it's the worst Pink Floyd in my opinion.

A lot of hostility seems to be pointed towards the fact that David Gilmour wrote this album almost entirely by himself, and that it's like one of his solo albums. But to those people, I say this: Is that a bad thing? David Gilmour released some great solo albums, so there's nothing really wrong with that. It's still good, just because he's by himself doesn't mean it's not that great, although I do agree that the sound has decreased in its diversity since they were writing together. On all their best songs, if you notice, they all work together on it.

This is a fairly nice album. The album artwork is very surreal, which is always good. Some songs are just radio friendly songs like Learning to Fly and One Slip, but they're still good. The new machine songs are just fillers, but the lyrics are really poetic if you listen to them. Sorrow is a masterpiece.

Overall, it's a good album, yeah some things sound kinda dry, for instance drum machines were used on several songs, rather than Nick Mason himself.

by HammerOfPink


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I say 3 stars for More. Good, but non-essential.

In fact, the album isn't that progressive. It is in some parts, but it really has a varied sound. It can go from really slow stoner kind've rock, to hard rock, to simple ballads, to funky and experimental instrumentals. It's nowhere near a classic but it does have its moments. Every song is somewhat enjoyable with the exception of Crying song (it's just kinda there, nothing special). Particularly, the best moments on the album are the Percussive tracks Up the Khyber, Party Sequence, and Main Theme, as well as The Nile Song and Ibiza bar, 2 hard rock songs that sound VERY similar to each other, and the most important, Cymbaline. The song has a wonderfully haunting feeling to it. It's lyrics deal with a person caught in a nightmare. Cymbaline was a concert staple for a while, in which they extended it quite a lot, adding more keyboards, a progressive instrumental section, a completely silent pause in which strange sounds like foot steps and doors slamming are played through the speakers, followed by a reprise of the verse. I have several bootleg recordings of this, and they are quite impressive. Green is the Colour is another nice one, and it was played live often, segueing into Careful With That Axe, Eugene. The main and Dramatic themes have a memorable melody, and Quicksilver is an experimental instrumental. More blues is just a bluesy song, and a spanish piece is just a comical filler. There is no real concept behind this album, and each song sounds radically different from the next, so you can never expect anything. Then again, this isn't really an album, it's just a soundtrack to a movie.

I do like this album a lot, but it's not a masterpiece, and it's not that important unless you're a Pink Floyd super OCD completionist like me.

by HammerOfPink


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This album is almost completely redundant... as are most compilation albums in my opinion. I typically hate compilations, with a few exceptions (One notable exception is Pink Floyd's Relics). I just don't like this album, well for one the artwork is kinda boring. It's some man on a scaffold working. On the inside, there's nothing but the track listing and copywright stuff in tiny letters.

Every song on the album can be obtained by buying another album. They're from Meddle, Relics, Dark Side, Saucerful, Umma Gumma, and Obscured by Clouds. An interesting thing that doesn't make it TOO bad is that the tracks kinda flow together in an interesting way. Sometimes I enjoy listening to the entire CD in the music player like that, but never on say an iPod or something. The album is put in really random order. The climax of Dark Side of the Moon is placed in the middle of the album... so you feel very excited as if it's nearing the grand finale... and then Set the Controls comes on really quietly, and you have 5 more songs to go.

Now there is a few good things about this album, one is the remixed versions of songs in particularly Brain Damage/Eclipse. The other, most important thing about this album is the song Embryo. Obviously this attracted me, as I had never seen or heard of the Embryo before I got this album. It was a very haunting, quiet acoustic piece that was written in the Umma Gumma sessions but never really released, except for a random album Picnic: a breath of fresh air, which featured several artists and was really rare and unknown. This was also done without Pink Floyd's permission.

The Embryo is a good song, it really is. As are all the others. But the only thing you can accomplish with this album, really, is getting the Embryo added to your collection. That's the only use this album has. And that's why I say that this album is only for completionists, and gets 1 star. I am shocked to give a Pink Floyd release so low a rating, but it's not worth it unless you are in fact a completionist. I am one, obviously, so I bought the album anyway, and I am fairly happy with it, but an ordinary prog fan browsing wouldn't get much out of it.

About the Embryo, though, this is just the acoustic studio version, but they've performed it live quite often, and it was in a hugely extended and harder rock sounding form, from 10 to 15 minutes long, and one time even 26 minutes! Only available on bootlegs, unfortunately. But they're really good, I love those versions. And they're also preceded by an instrumental called Corrosion

by HammerOfPink


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This album gets 5 stars without a doubt, because it is a masterpiece of the progressive rock genre, and would be welcome in almost anyone's collection if they like progressive rock. The album has everything progressive rock has to offer, lengthy spacey instrumental passages, surreal artwork, a captivating story told across the album, and more.

From start to finish, the album takes you through the legend of Atlantis, and its creation, all the way to it's destruction on June 5th - 8498. It contains wonderful keyboards that take you to different places and dimensions of unreal worlds. A perfect combination of science fiction and mythology, the lyrics are written in an almost biblical style. All the songs are great, and the concept is as important as the music, with a long monologue of a storyteller informing the listener of the fate of atlantis in the beginning of the last track.

Believe me when I say that it is a perfect progressive rock album, mixing rock and roll with surreal stories and sounds of an almost classical sense.

Highly recommended for any progressive rock fan. For those ordinary rock fans who have some progressive because it's good, but they're not TRUE fans (example, people who like Pink Floyd's the Wall and Dark Side of the Moon, but not much else), this album may be far too out there. Far too departed from the ordinary rock and roll style, but really if you like progressive rock, this is an album of perfection. Get it.

by HammerOfPink


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Todd Rundgrens FAITHFUL is a fine fine record. Side one is full of cover songs from some of the greatest artists of our time and each cover is done almost perfectly and faithful to the original... Some sound even better than their originals if you can believe that. Good Vibrations by the Beach boys never sounded better. Hendrix's old If 6 was 9 is out of this world. Happenings 10 years time ago is just plain beautifully done... There was a time when I was younger that I would play Todds versions before playing the originals... Thats how well they were executed and recorded.

Side Two is all Todd Rundgren and all of the songs are fantastic except for Boogies. Love of the common man is the standout track sounding as if it could have been on Todds INITIATION album. Black and White and when I pray are also outstanding tracks and the verb to love is wonderful. The recording engineering on every track is crystal clear and pristine on my vinyl copy. (I have never heard a CD of this material).

It would be difficult to give a 5 star rating to an album with so many cover songs on it only because so many other great musicians works inhabit this recording besides Todds. But if you had to just rate side 2 of Todds works then a 5 star rating it would get from me. An outstanding album that I am surprised no- one has reviewed yet

by Valdez


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Don't get me worng, this is a very good album, but one song does not an Essential make. Gates Of Delirium is certainly a fantastic, brilliant effort that ranks among YES' best songs but also remember that there are two tracks that follow this, two dull, drab efforts that should disappoint any YES supporter. It is because of the general malaise brought on by Sound Chaser and To Be Over that this falls, in my ranks, to 5th among YES albums. The golden age of YES' began in 1971 and in many ways ended right in the middle of this album when Gates Of Delirium ends, because they would never again create a complete album. When you have a run of such exceptional brilliance you do become a victim of your own success and while Sound Chaser, To Be Over and the album Going For The One are alright prog works themselves, they do not meet YES standards and don't hold up well in comparisons with many of their prog contemporaries better works. Gates Of Delirium makes this an excellent addition to any prog collection but I can't see going above 4 star for this album because of the lack of great supporting tracks.

by manofmystery


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I was digging through my old LP's of which I have, (no kidding) Thousands, and came across ONE LIVE BADGER and decided to give it a spin. The first thing I realized was that this was not a prog band but more a bar band or a backyard party jam band... there is nothing prog about this album except for Tony kaye and his long organ solos and the Roger Dean artwork. Produced by Jon Anderson of YES and engineered by the great Martin Rushent, I suppose there were high hopes for this LIVE debut album.

I somewhat enjoyed the first track Wheel of Fortune as I would enjoy a Blood sweat & tears track... It has that David Clayton Thomas feel going on with the vocals and this Brian Parrish was a pretty cool guitarist that could light it up when neccessary, but somewhat cliche in his approach... Bar band, but a fairly good one!

I also enjoyed the second track that had an Ian Hunter/Bowie feel to the vocals, and the refrain (Smile on my face) sounded just like the Grateful dead. The lead guitar on this track is the high point of the record and so are Tony Kayes organ solos. (every song on the album has one of each). Track 3, Wind of change, is about cliche as a Budweiser at a ballgame.

Track 4, The River, is a blues cum jam track that bored me to tears.

The album falls apart after that and dives headlong into a religious gospel type vibe that is very reminiscent of BS&T's again, (Here comes the devil!). This album is only a keeper for it's collectible factor on ATCO SD7022 Released in 1973, and also for Roger dean art completists. Praise the lord and pass the potato chips... I have the gatefold.

by Valdez


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This is Pink Floyd's most arguably progressive and notable achievement, a true mark of any genius for which the band is oft praised. THIS is the only album I believe to be a masterpiece by this influential quartet.

1. Pigs on the Wing (Part 1)- Intro acoustic number with great lyrics and vocals by Waters; this really fits into the context of the album perfectly, but isn't much of a song on its own without its counterpart or the 3 main songs. 8/10

2. Dogs- Want to hear what Pink Floyd is all about? Look no further! Great vocals, great guitar, great atmosphere, this is such an inventive, sophisticated performance! Gilmour shines, the instrumentation and atmosphere are always interesting, and this illuminates a side to Pink Floyd that leaves music on the previous albums (and subsequent, unfortunately) a bit lacking. Whereas Dark Side had a brilliant concept but the music wasn't up to par, Animals fixes every problem that Dark Side had: the instrumentation is more intriguing, progressive, and the song is much more tight compositionally without being too empty. Fantastic. 10/10

3. Pigs (Three Different Ones)- My favorite Pink Floyd song of all time, easily. I absolutely love this song; every moment is magic. The pig sounds complement it as a cherry on top of an elaborate cake. Waters's lyrics are at his shining moment here, and the instrumentation is hypnotic. I love Wright's keyboard work especially. HA HA, charade you are! Flawless. 10+/10

4. Sheep- From the jazz-tinged keyboard intro, this is another solid song, but for me doesn't quite reach the perfection of the previous two tracks. Occasionally this track may drag a bit if I'm not in the mood for it, particularly the repetitive ending, but for the most part it continues the wonderful trend of what came before it: more effective use of instrumentation, tighter compositions, and more experimental and progressive tendencies. 9/10

5. Pigs on the Wing (Part 2)- This mirrors the first track. A perfect closer to this album... I wouldn't have it any other way. 8/10

If you want to hear Pink Floyd, pick up this album first. This is their short-lived pinnacle, as their other albums aren't quite the genius that they are cracked up to be, despite being decent rock albums. A perfect psychedelic mix of Pink Floyd's concepts and music.

by MovingPictures07


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One of the new leaders of the Ital-prog scene?

Senza Nome (“Nameless” in English) are from Marino, near Rome. They formed in 2003 with the difficult goal of mixing the grand Italian song tradition with a modern progressive rock. They also began aggressive live activity from the very start, determined to progress as players and composers through the experience of live performance. I believe it shows already. Other bands have attempted to merge the ‘70s Italian progressive with modern music characteristics with patchy success, Senza Nome is pretty convincing. This band might be a leader in shaping where Italian prog goes in the future I believe, not content to simply recreate the past (even though doing that can be enjoyable enough) but to wrap it in their own confident package. It’s a very impressive piece of work and reminds me of bands like Tilion and Imagin’Aria just to give a reference point. Composition is handled by vocalist/guitarist Emanuele De Marzi and keyboardist Stefano Onorati, with Onorati writing the lyrics as well. Lead guitarist Mirko Mazza is very gifted and the rhythm section of bassist Piero Portelli and drummer Leonardo Bevilacqua capable of some pretty intense change-ups. The band has even worked with actors to incorporate certain theatrical performances into their work. They are proud members of “NoSlappers” which is a collective of Italian bands who seek to support each others attempts to find venues for the performance of *original* material, as opposed to the clubs who insist on filling their slots with cover bands and tribute bands. (The whole world could use a NoSlappers philosophy.) In May 2008 the band self-released their uncompromising debut, a surprisingly accomplished and broad work for a first attempt. The band joke in their Bio that choosing a name is the first important step for a new band and thus they chose “Nameless” and proudly state “We prefer playing” as opposed to thinking up clever names I assume. The band seems bound by confidence, hard work, and raw talent which as mentioned seems to have served them well. But what about the music?

The album cover seems like another appropriate choice for this debut’s material. We have a strange hand (the band?) holding forth a small paper boat with ominous clouds in the background. This little boat (ideas, will?) is going to be placed into the water and from that point the water and wind (fate?) will decide the destination and success as much as the hand that guided, though both forces are important. (That’s just my interpretation, no idea what the band intended.) But as I said, it seems appropriate to what I’m hearing here. To the songs, I believe the album can be dissected into two parts. First you have the three standout “anchor” tracks, ranging from 8-12 minutes each. The three-part suite “Illusioni di un Anima Lontana” (Illusions of a Distant Soul) is an impressive opener which right off the bat will attempt to frame the marriage of past and present. Part 1 strikes me as classic symphonic with characteristic heavenly melodies laid down by acoustic and electric guitars, Moog, and rich Italian vocals. Part 2 brings the “modern” crashing through your door with little warning and here we see that Senza Nome has the ability to play to the chops-obsessed fans of modern proficiency-rock. My skepticism of this creeps in when I feel the worship of the proficiency factor exceeds the emotional quality of the music. Senza Nome is not immune to this criticism but they rarely take their eye off the ball that is melody and emotion. They can blister ears with the best players out there but they understand the role of proficiency in their composition. Part 3 almost addresses the issue as the band seeks to respect both camps while having some fun by bringing a bit of Latin flavored flair to the conclusion. Quite a ride and just the first track! The second anchor track would be “Tumore” and here the band is at their most feisty: wild and playful solos trading between electric guitar and keyboards sometimes approaching a manic pace. The third anchor “Ulisse” is where Senza Nome really pulled me in and won me over. The band has a love for poetry and philosophy and here they really pull out the stops. It opens with the sounds of the sea (birds and waves) over harmonica and sentimental acoustic melody and slowly builds up the mood. After some delicious instrumental work comes a strange interlude in which an actor performs a passage from Canto twenty-six of the Inferno, in spoken verse. You can imagine how corny this *could* be by some bands if handled poorly but it works wonderfully here, again, because of the total conviction and respect of the band for what they are dealing with. Behind him they soon throw in some beautiful choir vocals. This track is simply in the best traditions of the romantic Italian prog.

The balance of the album consists of shorter tracks which while less epic in scope contain their share of pleasant moments. “Passi” (Steps) features gorgeous, romantic melodies in the guitar and keyboard parts along with poetic verse. “Non sono mai esistito” is the lowest point of the album, an inconsequential bluesy number that frankly does not fit well with the overall work in my opinion. “Si la do” is another somewhat questionable track with humorous intentions (also present on the bonus video) but is musically interesting enough to win me over (the song that is, the bonus video is not something I ever wish to see again…ouch!) Humor can be fine but the crude silliness of this video really has no place in an otherwise classy collection of music in my opinion. The closer “Sopra a un Pensiero” (Upon a thought) is a perfect one, a dreamy, window gazing little piece of beautiful piano, acoustic guitar and bass. Lovely. Senza Nome contains a few missteps but has enough quality and heart to earn that 4th star. I look forward to watching these guys in the future and believe they are filled with potential. Their self-released disc is very well done, actually more impressive than many label releases. Great sound and a gorgeous, thick lyrics booklet with pictures round out this impressive package available from the band's website for a very fair price. 7/10

by Finnforest


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Welcome to the beautiful album of Willowglass, and yes, it's worth purchasing.

First, give a guy a chance. When I see the label 'Independant', my heart swells with empathy. Wait... What?!? This is all home made? Get outta here! Oh really? Wow, wow and triple wow. This sounds just fantastic, so full and rich! 2) It's way above average some symphonic material we all know and love.

For instance, it's a lot better than Genesis' Wind and Wuthering, although they modestly share the same recipe: 12 string guitars, great sounding mellotron and hammond. But, this album has a LOT of fantasy/ Hobbit-sipping-peacefully-his-tea theme. Although the main theme is Don Quichotte and his faithful Sancho, it brings to my mind much more Bilbo images than anything else, so fans take notice! It's fun to catch some bands that succeed grabbing the feel of an old instrumental classic, and with this one it's a treat.

Simply, this record got my vote for 'out-of-nowhere-but-high-quality' material for 2008. Incredibly rich sound, great atmospheres but a lot of Par Lindh/ Genesis DNA!

Deserves a definite chunk of your attention.

Oh by the way, 1973 called, he wants his sound back!

by Menswear


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The sophomore Triumvirat release is in my opinion (and of many) the top achievement of this German power trio. As stylish as “Spartacus” can undeniably appear to the educated progressive ear, it is in “Illusions on a Double Dimple” that Triumvirat reveal themselves on top of their game regarding sonic power. During the recording process, Hans Pape was still in charge of the guitar/bass department, but Helmut Köllen was just making his way into the band (something that Fritz embraced quite gladly) until he eventually filled the stringed instrument department by himself. His singing was capable, being melodic and strong at the same time, so he became the third part of Triumvirat’s classical line-up. Bathelt’s drumming is more inventive and engaging than it ever was or would ever be in successive albums, so as I said earlier in this review, the trio was in top form and comprising its best line-up. The first of both suites is the best amalgamated one in terms of thematic unity; the second one, on the other hand, surpasses the first in terms of thematic development and energy – together, they state a solid album in which the ELP framework meets a creative variation that is more focused on clean melodic sensitivity and a bit less of pomposity and aggressiveness. This is made very clear from the beginning through the fluid sequence of the ‘Illusions on a Double Dimple’ opening section ‘Flashback’ and the follower ‘Schooldays’. The bombastic delivery of the three main portions of ‘Triangle’ finds Fritz showing off his mastery on piano, Moog synthesizer and Hammond organ, successively. The last section fades out as the famous “sacked Last Friday” monologue enters in to start the ‘Illusions’/‘Dimplicity’ section: being a catchy alternation of soft romantic prog and rock’n’roll, it properly portrays a perfect example of the sort of constrained pomposity that characterized Triumvirat. After an abbreviated reprise of ‘Triangle’, ‘Last Dance’ closes down the suite with a joyful mood evidently based on Central European folk. ‘Mister Ten Percent’ starts with what arguably is the best Fritz composition ever: ‘Maze’ – a solid instrumental full of inspired mannerisms from Baroque and Neoclassical schools, very Emersonian, with an intended rough rhythm section. ‘Dawning’ is a lovely piano solo than soon gives way to the sarcastic ‘Bad Deal’ (combining R’n’B and rock’n’roll). This, in turn, is followed by yet another instrumental tour-de-force entitled ‘Roundabout’, which is longer than ‘Maze’, including more excerpts, being almost as splendid. ‘Lucky Girl’, in spite of the obvious hint at ELP’s acoustic side (also with music written by the singer-guitarist-bassist instead of the keyboardist), has a more similar feel to Yes. This description fits the extended Moog solo as well, which bears a very deep Wakemanesque vibe. ‘Million Dollars’ flows quite well from the end of the previous section, displaying a mid-tempo exercise on melodic prog in a convincing return to the predominant ELP influence. The only minor points that bother me somehow whenever I listen to this album are the extra additions of female choral arrangements, sting section and brass ensemble. Well, the latter is not that annoying since I find it as making sense within the nuclear ambitions pursued in the two suites, but I tend to find the female vocals and string arrangements quite corny, almost approaching the muzak scheme and so, unnecessarily toning down the music’s inherent majesty. Specific objections aside, “Illusions on a Double Dimple” is in itself an excellent manifestation of the best that Germany had to give to the symphonic prog rock scene worldwide: it is only a justice of Fate that Triumvirat had to catch the attention of wider audiences over the world with this album.

by Cesar Inca


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