Ensemble Nimbus - Key Figures (Sweden 1994) [ProgRock] @320

ENSEMBLE NIMBUS "Key Figures" are the third release from the excellent Swedish Ad Perpetuam Memoriam label (APM). They are mixing 70's influenced Zeuhl and RIO and obviously there's reminiscences to SAMLA MAMMAS MANNA, UNIVERS ZERO and VON ZAMLA. The interesting line-up includes among others Håkan Almkvist who's responsible for the compositions and the SAMLA MAMMAS MANNA drummer Hasse Bruniusson on Electric Batterie. APM is responsible for many interesting releases and this isn't an exception. Recommended!

Greger - Prog Archives

1. Slaget (The Battle) (5:04) 

2. Formaningen (The Exhortation) (4:48) 

3. Rabalder (The Commotion) (5:20)

4. Änglamakerskan (The Baby-farmer) (5:56) 

5. Skrapan (The Schramscraper) (3:29) 

6. Bo i Bingen (Lazy bones) (5:52)

7. Hönsper (The Eccentric Farmer) (3:44) 

8. Motvalskärring (Against the Stream) (4:17) 

9. Uti Svängen (Shake a Leg) (4:17)

10. Nyckelfiguren (The Key Figure) (3:26) 

11. Ekivoka Vänningar (Indecent turnings) (8:25)

Hakan Almkvist / guitar, bass, voice on "Commotion" 

Lars erik Björk / clarinet, bass-clarinet 

Hasse Bruniusson / electric batterie 

Stefan Karlsson / keyboard 

Kirk Chilton / violin

Minimum Vital - Capitaines (France 2009) [ProgRock] @320

French outfit Minimum Vital is yet another example of a band that have produced a strong album in 2009. There has been quite a few of those so far. In this case we're served a delightful, beautiful blend of folk music and symphonic progressive rock. Wandering, acoustic guitar motifs and hand drums makes up most of the folk aspects of this production, with some flute soloing as an additional trait. Fluent guitar soloing and lush keyboard textures makes up most of the symphonic aspect of this excursion, with a few examples of dramatic, staccato tangent explorations and rich, multiple layered and epic soundscapes presented on occasion too.

The compositions are mostly freely flowing affairs, light and positive in mood. 
Mellow, subdued passages are blended with pacier energetic ones, and the band comes cross as experts in the art of taking a song from a low key, sparse beginning to a rich, orchestrated ending. And while most of the tracks blends the two stylistic expressions they explore, we're alos served some compositions with an emphasis on either one or the other genre.

These light, fluid ventures might not be to everybody's taste; but personally I found them to be a pleasing and intriguing experience - to be filed under positive progressive rock.


1. She Moves Through The Fair (4:12)
2. Avec Uppsala (6:43)
3. Mauresque (5:48)
4. En Terre Etrangère (4:28)
5. La Croix De Bourghi Bandô (3:30)
6. Le Chant De Gauthier (7:21)
7. En Superbô (5:24)
8. Capitaines (6:53)
9. La Route (7:08)

Jean-Baptiste Ferracci / vocals
Sonia Nedelec / vocals
Didier Ottaviani / drums, percussion
Jean-Luc Payssan / guitars, mandolin, vocals, percussion
Thierry Payssan / organ & synthesizers, vocal, percussions
Eric Rebeyrol / bass

Mamadeus - Mamadeus (Netherlands 1983) [ProgRock] @192

Very Rare Flairck related work.
The connection with Flairck is the flutist Peter Weekers and the style of this album is very similar to Flairck.
Almost all instrumental album and played with high performance.
I didn't find any review about this album in the NET.
This is my vinyl rip. Not released on CD.

01. Omenom 3:35 
02. Manon 3:54 
03. Shaura 7:15 
04. Atlantis 4:30 
05. Poolijs 13:40 
06. Moira 5:40 
07. De wolkenkrabber 3:22 


Peter Weekers: fluiten, zang, xylofoon, vibrafoon.
Peter Leerdam: bas, klokkenspel.
Rob van der Vlugt: klarinet, bassethoorn, piano, vibrafoon, xylofoon, marimba
Frans Leerdam: mbira, xylofoon, vibrafoon, marimba, klokkenspel
Rob Husmann: gitaar, vibrafoon, maraca's, zang

Herman van Veen: zang 7
Peter Weekers: panfluit 7
Erik van der Wurff: toetsen 7
Chris Lookers: gitaar 7
Cees van der Laarse: bas 7
Jan Hollestelle: bas 7
Louis Debij: drums 7

Esthema - Apart From The Rest (USA 2008) [World Fusion] @VBR224

Esthema, a World Fusion ensemble out of Boston, MA (USA) creates their unique sound by fusing elements from the traditional music of the Eastern European Balkan region and the Near & Middle East with Progressive Rock and various styles of Jazz. The five musicians that shape the sound of Esthema bring together both Western and Eastern influences, instruments, and musical concepts.
"........Joel Simches from Boston’s Noise Magazine stated, “this recording is nothing less than a true celebration of a number of different styles of world beat, jazz, rock, ethnic European and Middle Eastern traditional music” and John Collinge from Progression Magazine called it “a seamless blend of Eastern and Western motifs: Ethnic scales and meters intertwine delightfully with jazz-rock drums and bass beneath jazzy improv and winding melodies.”


01. Consequence
02. For whom? For Me…
03. Distance
04. Erimos
05. Finding my way
06. Apart From the Rest

Andy Milas (guitar)
Tery Lemanis (oud & bouzouki)
Onur Dilisen (violin)
Jack Mason (Bass)
Carl Sorensen (drums)

Ibrido Hot Six - Ibrido Hot Six Plays Acquiring The Taste (2010 Italy) [ProgProg] @320

Considered – with Genesis and King Crimson – the most creative group of the seventies, capable to create resonant worlds on horseback between ancient music and contemporary, classic and rock, the Gentle Giant contributed to define a type, the progressive rock, that has given to the some light between the most important works of the popular music of all of the times.  The Gentle Giant, inspiring itself all plot of motive cultured and popular of the renaissance saga of Rabelais, has distinguished thanks all symphonic approach of the poly istrumentism and to the refined songwriting of masterpieces what Funny Ways and Pantagruel's Nativity. 

Studied from a musician of large pertaining to perspective openings like Antonio Apuzzo, the Gentle Giant there come returned from this in all book their artistic parable, leaving from the primordi of fine sixties until the masterpieces of Seventy and to the last, recent apparitions of the group Three Friends, born from the union of three historical components of the band (two of which collaborated to this hover releasing a interview). The analysis of all of the pieces of their repertory offers a indispensable leader all listening, and to the deep understanding, the ambitious aesthetics and fascinating of Gentle Giant.

The cd cited, Hybrid Hot Six Plays Acquiring The Taste, proposes the rereading in instrumental key of eight unforgettable compositions of the second album of the Gentle Giant. The faithful approach to the original material surprises for the exaltation of its matrix chamber and the transparency timbrica of the ensemble, formed from two basses, oboe, flutes, fails and reeds. 

Saxophone player, clarinet player, composer and teacher of music, Antonio Apuzzo is profitable since 1975 nell' àmbito of the jazz and of the contemporary music.  Besides to realize numerous record engravings (on everything, those with the trio Orselli Apuzzo Lalla) has composed (with Mauro Thistles) the opera Luz for trio jazz and settetto from room, produced from Italian broadcasting corporation RAI Radio3, and finalist was all' International Songwriting Competition 2007.  Before this hover it wrote, in collaboration with Luigi you Honor, The jazz in the afroamerican tradition. 


01. Pantagruel's Nativity
02. Edge Of Twilight
03. Giant Links: Echoes
04. The House, The Street, The Room
05. Giant Links: The City
06. Acquiring The Taste
07. Giant Links: Before The Wreck
08. Wreck
09. The Moon Is Down
10. Black Cat
11. Giant Links: Blues For Martin
12. Plain Truth

Antonio Apuzzo - Tenor and alto sax, clarinet and bass clarinet, descant recorder
Pino Capomolla - flute, tenor recorder
Francesco Fratini - trumpet
Gianni Di Ruzza - oboe
Gianluca Taddei - bass
Sandro Lalla - bass

Skywhale - The World At Mind’s End (1977 England) [ProgRock] @320

A true obscured gem
(vinyl rip)

Skywhale was formed in 1974 by Steve Robshaw in Bristol UK, in order to play an eclectic blend of soaring optimistic melodic music. This seven piece band created a new and uplifting style of instrumental music, fusing jazz, rock, funk, orchestral and celtic styles. Considered to be a masterpiece, the re-release of this album has been eagerley awaited by fans world wide.
Their album has digitally remastered in Nov 2006 and is available through CD Baby and their Myspace.

This was their only album and it's a melodic blend of entirely instrumental music comprising six tracks in total, all but one of which exceed the seven-minute mark. In addition to the ubiquitous guitar, keys, bass and drums Skywhale featured an additional percussionist and two wind players so there's always plenty going on and the music has something of a Latin feel. There's no real need to try to describe the music further so I'll just let it speak for itself.

In spite of its many qualities this album is probably destined to remain an obscurity and while it's never likely to challenge for a place in the top 100 prog albums it deserves at least some attention. Your first port of call should now be YouTube where you can listen to the album in its entirety (just ignore the vinyl crackles on the recordings), followed by a visit to Amazon where the MP3 is currently available to download for less than a five-spot. If you're a fan of Jazz Rock/Fusion you're in for a rare treat! 
-eventhsojourn  (Prog Archives)-


01 - Epicure
02 - Hydralic Fever
03 - Two Budda Garage
04 - The World At Mind's End
05 - Eternal Optimist (The Rat)
06 - Bogies

Steve Robshaw: guitars, violin, Roland guitar synthesizer
Stan Thewils: flute, tenor saxophone
Paul Todd: soprano saxophone, flute, penny whistle
Dougall Airmole: bass
Mick Avery: drums, percussion
Gwyo Zepix: keyboards, EMS & ARP Synthesizers
John Schofield: percussion

Oaksenham - Conquest of the Pacific (Armenia 2006) [ProgRock] @320

Seems like a long time since we reviewed this Armenian band’s previous debut live release Woden’s Eve Live; in fact it was 2002, and since then the band has been diligently working on this, their ambitious studio follow-up. Again, the six-piece of acoustic and electric guitars, bass, drums, violin, keyboards and flute go the instrumental route, augmenting their already rich sound with guest players on string harp, english horn, bassoon, oboe, clarinet, cello, french horn, bagpipes and orchestral percussion, all track depending. These compositions stand strong as instrumentals, rich in melody and counterpoint, blazing with guitar, keyboard and violin solos, with plenty of twists, turns and complexities to keep them interesting from beginning to end. The warmth and range of emotions encompassed within the scope of their music is nothing short of stunning, and these are all exceptional players. Make no mistake though, even with all those orchestral instruments at work, these folks can and do rock with the best of them. Their spirited instrumental arrangements of two Gentle Giant classics back-to-back (“Talybont” and “On Reflection”) give away one of their apparent influences, though this writer is more often reminded of Red Queen era Gryphon in Oaksenham’s overall approach and instrumentation. The 26-minute five-part title suite closes the disc nicely, summarizing everything this band is about.
Fans of GG, Gryphon, Snow Goose era Camel, Mike Oldfield, and other ambitious progressive rock works will definitely find this disc to their liking.
-Peter Thelen-

01. Anthem: The Unseen Land
02. Water Spark
03. Elfy
04. The Way Back Home
05. Talybont
06. On Reflection
07. Time-Out
08. Jester’s Pipe
09. Merlin’s Jig
10. Across the Atlantic
11. Ocean ’s Web
12. Golden Hind

Vahagn Papayan: bass
Anna Adamyan: keyboards
Valery Tolstov: flute
Bobikyan: violin
Vardan Gasparyan: guitar
Ashot Korganyan: drums

Asturias - Legend of Gold Wind (Japan 2011) [ProgRock] @320

Just over four years on from their last album, Marching Grass On The Hill, the internationally-celebrated Acoustic Asturias return with their third full-length release. The album's themes are the earth and the wind, through which the group express the cultural influences that have blown from Asia and Europe to faraway Japan over 12 stunning tracks; organic, dramatic and graceful, this is a powerful release that takes the listener on a real musical journey.



01 - Legend
02 - Dance In Gold Highland
03 - Betta Splendens
04 - Frozen Memories
05 - Perpetual Motion
06 - Juhannus
07 - Kaikoh
08 - Gren-Bosatsu
09 - Luca In Grass Wave
10 - Luca & Stella Into The Dark
11 - Kingdom Of Wind
12 - Kagerou


Tei Sena: violin
Kaori Tsutsui: clarinet, recorder
Yoshihiro Kawagoe: piano
Yoh Ohyama: guitar

Chris Judge Smith - Curly's Airships (England 2000) [ProgRock] @320

Perhaps one of the most ambitious projects attempted by any artist for many years "Curly's Airships" is a conceptual song-story by occasional Peter Hammill collaborator Judge Smith. Based on the ill-fated R101 airship, this impressive work was six years in the making and features a cast including Hammill, Arthur Brown, Pete Brown, David Jackson, Hugh Banton and Paul Roberts.
Before you let the word 'concept' put you off, the calibre and ability of the musicians saves the album from becoming tedious. In fact, it's most entertaining. The performances are enthusiastic and well-executed, with the second disc providing the most satisfying moments. Musically, one can draw comparisons with Frank Zappa's more complex work, but that doesn't really do it justice.
Aside from the originality of the music, the detailed historical research by Smith almost justifies purchase alone - a lavishly illustrated 48-page booklet features informative historical background. A wonderful and well-crafted work for which Judge Smith deserves much praise.

CD1
01 - Voices from a Crystal Set
02 - Walking Her Out
03 - Curly Takes Us Up
04 - Drifting About Like a Bad Smell
05 - Curly in the Clouds
06 - A Capital Idea
07 - A Shrieking of Aluminium
08 - Curly on Civvy Street
09 - That Imperial Airship Scheme
10 - From the Sidelines
11 - A Kindly Sort of Cove
12 - Curly at Cardington
13 - A Creature of Grace
14 - A Byronic Sort of Blighter

CD2
01 - Big Chief and some Minor Bugs
02 - The Canadian Run
03 - Conan Doyle and the Flying Sieve
04 - Horrors at Hendon
05 - As Safe as a House
06 - A Ship of Fools
07 - The Night Before
08 - The Morning After
09 - Bedford to Hastings
10 - Hastings to Beauvais
11 - The Muffled Drum
12 - The Final Taboo


JUDGE SMITH: Vocals and Bass & Drums
JOHN ELLIS: Electric Guitars & Ebow, Mandolin
HUGH BANTON: Organs & Piano
DAVID SHAW-PARKER: Acoustic Guitar, Banjo, Vocals & Actor
ARTHUR BROWN: Vocals
PETE BROWN: Percussion & Vocals
PETER HAMMILL, PAUL ROBERTS, PAUL THOMPSON: Vocals
DAVID JACKSON: Saxophones & Whistle
JOE HINCHLIFF: Accordion
RIKKI PATTEN: Supplementary Guitar
IAN FORDHAM: Bass Guitar & Double bass
RENE VAN COMMENEE: Tabla, Ghatam & Tambura
TAMMO HEIKENS: Sitar & Tambura
NICK LUCAS: Vocals & Actor
GWENDOLYN GRAY, MIKE BELL: Actor
THE MYSTERY MARCHING BAND

BUY NOW THIS MASTERPIECE HERE!

Peter Banks - Two Sides Of Peter Banks (1973 England) 2010 Remaster SHM-CD [ProgRock] @320

Talk about an eclectic album! Ex-Yes and Flash guitarzan Peter Banks really spilled his beans here, putting together a VERY original album with his mates from Flash (no Yes members invited, ah, such bitterness!!!) and a few choice guests: the fuzzy bass of John Wetton, the rythmic gymnastics of "Uncle" Phil Collins (back in the days when he was a gloriously talented drummer) and, last but not least, the unique guitar styles of Steve Hackett and Focus' Jan Akkerman (back in the days when he was a gloriously talented guitarist). With all this supremo talent, Banks sort of takes a back seat. "The White House Vale", "Knights" and mostly the full tilt improvised gem/jam "Stop That"are the highlights here, giving the guests a chance and a platform to let down their fairly long hair and just rip! Yeah, this is not your "perfect prog produced to perfection master opus" but it has a charm that has stood the test of time and still ellicits smiles, cheers and the occasional goose bumps. 

In many ways, the album's black, white and grey cover really sets the mood as this is no technicolor masterpiece! It's raw, slutty, dirty, visceral, angry, moody and My, my, that Akkerman could certainly play a mean guitar! Perhaps not a classic but definitely a showpiece for some inspired playing and a rare glimpse into Banks' rather odd career.


1. Visions Of The King (1:23)
2. The White House Vale (7:13)
- a. On The Hill
- b. Lord Of The Dragon
3. Knights (6:14)
- a. The Falcon
- b. The Bear
4. Battles (1:38)
5. Knights (Reprise) (2:11)
6. Last Eclipse (2:25)
7. Beyond The Loneliest Sea (3:06)
8. Stop That! (13:47)
9. Get Out Of My Fridge (3:20)


Peter Banks: electric and acoustic guitar, ARP, Minimoog, and Fender piano
Jan Akkerman: electric guitar (1,4,6,8,9), acoustic guitar (7)
Ray Bennett: bass guitar (3-5,8,9)
Phil Collins: drums (4,5,8,9)
Steve Hackett: electric guitar (5)
Mike Hough: drums (3)
John Whetton: bass guitar (5)

Flash - Out Of Our Hands (1973 England) 2010 Remaster SHM-CD [ProgRock] @320

What do chess and an interstellar messenger of peace have in common? Nothing, I'd venture, but it didn't stop Ray Bennett from laboring on this stellar concept album all the same. Like any FLASH album, the comparisons to early YES are invited and no doubt appreciated. There are plenty of moments here that'll transport you to strange new places, provided you're willing to put in the same amount of effort you did on "Tales of Topographic Oceans".

Bennett and Peter Banks in particular connect on some passages that click as well as Chris Squire and Steve Howe. It occurs to me when I listen to "Out of Our Hands" that this might be the lost YES album I've been looking for. Certainly it's closer to the mark than Steve Howe's Beginnings, In The Can or Two Sides of Peter Banks. Almost every song on here has some redeeming moment of magic, from the opening of "The Bishop" (which prefigures Gang of Four by at least a few years) to the tripping guitar lines on "Dead Ahead". Maybe I've grown used to Colin Carter's voice by now but he does seem better suited to the music this time, suggesting Jon Anderson's voice with clipped wings. Where Anderson soared, Carter is entrenched, holding steadfast in the midst of Banks' acrobatic leads and Bennett's bold bass lines.

The result is a style that produces some fine moments, including "Man of Honour", "Shadows" and delightful "Psychosync". As busy as Bennett is with writing most of the material and playing bass, his keyboard contributions are cursory, which results in some missing music. If sections feel like they need to be fleshed out on occasion, it's to be expected with FLASH. Their purpose was never to replace YES, but rather to build something different from the same foundation. Sadly, "Out of Our Hands" was their last album, and another avenue to nirvana was closed. This record (and, in fact the entire FLASH catalog) are well worth rediscovery -- the Dead Sea Scrolls of the Yesstory, in a manner of speaking.


01. Open sky (0:40)
02. None the wiser (King) (3:17)
03. Farewell number one (Pawn) (1:37)
04. Man of honnor (Knight) (4:45)
05. Dead ahead (Queen) (4:38)
06. The Bishop (4:21)
07. Psychosync (Escape) (4:50)
08. Manhattan morning (Christmas '72) (6:24)
09. Shadows (It's you) (3:20)


Peter Banks: Peter Banks / guitars, Moog & Arp synths, banjo, backing vocals
Ray Bennett: bass, piano, clavinet, Mellotron, Arp synth, accoustic guitar, banjo, backing vocals
Colin Carter: lead vocals
Micheal Hough: drums, congas, tablas

Flash - In The Can (1972 England) 2010 Remaster SHM-CD [ProgRock] @320

This second FLASH`s album was recorded as a quartet. Keyboard player Tony Kaye, who never was an official member of the band and who was only a guest on their first album, didn`t participate in this album and went to form his own band called BADGER. So, this album has a lot of guitars and very few parts on which Peter Banks plays the ARP synthesizer.

I think that it is unfair to underrate Peter Banks as a guitarist, because in this album he also shows that he is a very good guitarist with his very own style. Bassist Ray Bennett, who also was the main composer of the songs in this album, also shows that he is a very good bassist, and there are some similarities between his sytle of playing the bass with the styles of John Entwistle and Chris Squire. Singer Colin Carter is also good, and there are some very good vocals arrangements done with Banks and Bennett. Drummer Michael Hough is a more "Rocker" drummer, but he also plays some interesting things.

"Lifetime" and "Monday Morning Eyes" are, IMO, the best songs in this album. I think that FLASH deserves more respect as a band, because this album, despite the lack of a keyboard player, shows them as a very good Progressive Rock band.


01. Lifetime (10:05)
02. Monday morning eyes (5:03)
03. Black and white (12:04)
04. Stop that banging (1:50)
05. There no more (11:35)


Peter Banks: acoustic electric & Spanish guitars, Hooter, ARP synth, backing vocals
Ray Bennett: bass, acoustic guitar, backing vocals, lead vocals (2)
Colin Carter: vocals, percussion
Mike Hough: drums, percussion, cymbals, badinage

Flash - Flash (1972 England) 2010 Remaster SHM-CD [ProgRock] @320

This is an album clearly made in the shadow of that great progressive rock band Yes. However, unlike Starcastle and other such followers, Flash have a genuine excuse. The band was founded by Peter Banks and Tony Kaye, both of whom were unceremoniously ditched by Yes despite also being founder members of that esteemed group. While it's hard to dispute the fact that both Banks and Kaye were replaced by superior musicians (Steve Howe and Rick Wakeman respectively), neither deserved to be treated with such disrespect, and this album is an excellent riposte to their critics.
Flash preserves that sound of 60s Yes which somewhat ironically reached its zenith on 1971's The Yes Album. Small Beginnings in particular is an epic track which could have slipped quite comfortably onto that masterful album. It has all the hallmarks, with storming riffs (with some of Banks's best ever playing), an inventive rhythm section (bassist Ray Bennett and drummer Mike Hough), and even a nice organ solo from Kaye, while vocalist Colin Carter sounds very much like Yes frontman Jon Anderson.

01 - Small Beginnings
02 - Morning Haze
03 - Children Of The Universe
04 - Dreams Of Heaven
05 - The Time It Takes


Peter Banks: acoustic electric & Spanish guitars, Hooter, ARP synth, backing vocals
Ray Bennett: bass, acoustic guitar, backing vocals, lead vocals (2)
Colin Carter: vocals, percussion
Mike Hough: drums, percussion, cymbals, badinage
Tony Kaye: organ, piano, ARP synth

Curved Air - Retrospective - The Anthology 1970-2009 (2CD) [ProgRock ] @320

Today they're known for giving Police drummer Stewart Copeland his start, but Curved Air emerged in the early 1970s as one of England's most distinctive prog-rock bands, led by singer Sonja Kristina, who was promoted as something of a sex symbol at the time. As heard on this career-spanning, two-disc set, their music combined classical and rock flavors, with Darryl Way's violin adding a signature sound, but there was also a bit of a Jefferson Airplane tinge to some of their work that helped set them apart from their peers.

CD1
01 - It Happened Today
02 - Screw
03 - Blind Man
04 - Hide And Seek
05 - Rob One
06 - Young Mother
07 - Back Street Luv
08 - Jumbo
09 - Puppets
10 - Piece Of Mind
11 - Whose Shoulder Are You Looking Over Anyway
12 - Melinda (More Or Less)
13 - Over And Above

CD2
14 - The Purple Speed Queen
15 - Elfin Boy
16 - Metamorphosis
17 - Easy
18 - The Dancer
19 - Dance Of Love
20 - Love Child
21 - Woman On A One Night Stand
22 - Desiree
23 - Broken Lady
24 - Marie Antoinette
25 - Vivaldi
26 - Lambent Spire
27 - Space In Between
28 - Beloved

.

Banco Del Mutuo Soccorso - Da Qui Messere Si Domina La Valle (Italy 1991) [ProgRock] @320

This album is not a compilation! The band re-recorded the first 2 albums in studio with new instruments and new arrangements. Fantastic result!
CrimsonKing

Francesco Di Giacomo writes in CD booklet that he does not like remakes and BANCO decided to re-record their two first albums because fans asked them ''to do it today''. It seems the easiest way was to play both albums live and make a record, but the band did it in studio. I guess musicians had their reasons for this.

I'm not a big fan of remakes too, but I like new versions of both albums. There are lots of new colours in familiar tunes, first of all due to Vittorio Nocenzi's excellent keyboard work. Rodolfo Maltese is more than competent guitarist, and Francesco Di Giacomo is, as usual, in good vocal form. It became a common place in prog circles to consider him an opera-trained vocalist, but I've read somewhere that he is a self-taught singer. Don't know where the truth is, but anyway he is one of the greatest rock singers of all time. The low point for me is the absence of bass guitar player on the whole record and the use of programmed drums on many tracks. But great music is great music. I love original ''BMS'' and ''Darwin!'' albums to bits, but quite often listen to these new versions.

Highly recommended, but get 1972 originals first.

"Prog Archives"

CD 1 - ''B.M.S'' 1991 version
1. In volo (2:17)
2. R.I.P. (Requiescant in pace) (9:09)
3. Passaggio (4:06)
4. Metamorfosi (13:01)
5. Il Giardino del mago (19:09)
... Passo dopo passo ...
... Chi ride e chi geme ...
... Coi capelli sciolti al vento ...
Compenetrazione
6. Traccia (2:08)

Total time 49:52

CD 2 - ''Darwin'' 1991 version
1. L'evoluzione (16:46)
2. La conquista della posizione eretta (9:59)
3. Danza dei grandi rettili (4:15)
4. Cento mani e cento occhi (6:03)
5. 750.000 anni fa ... l'amore? (7:53)
6. Miserere alla storia (6:18)
7. Ed ora io domando tempo al tempo (3:23)

Total time 54:40

Francesco Di Giacomo: lead vocals
Vittorio Nocenzi: piano, Hammond organ, minimoog, synthesizers, keyboards, drum programming, synth bass, accordion, clarinet, recorder, vocals, backing vocals
Rodolfo Maltese: electric guitar, mandolin, sitar, backing vocals
Pierluigi Calderoni: drums, percussion

Guest musicians:
Piercarlo Penta: Hammond organ, keyboards, drum programming
Tiziano Ricci: Fabrizio Faderighi
Claudio Rego: backing vocals

Adrian Belew - e (USA 2009) [ProgRock] @320

It's been a while since we had another King Crimson album. During this time Adrian Belew has managed to release quite a few albums and this completely instrumental 2009-offering came right after the completion of the Side-series.

Unlike the previous albums e features a steady lineup of Adrian Belew on guitar, Julie Slick on bass while her brother Eric Slick handles the drums. According to Julie Slick's myspace website the band formed in March of 2006 when they took the stage at the Knitting Factory in New York City for a performance of Frank Zappa's City of Tiny Lites. After that performance the Adrian Belew Power Trio went on a long tour which they then followed by recording this album.

e or Planet e, as it was originally titled, is roughly divided into five different sections where each one, except for c, is split into one or more sub-sections. According to Adrian Belew the compositions can be listened to as individual pieces of music, but they do interact through the overall theme that binds them together. Musically this is as close as Belew has ever managed to capture the sound of the two latest King Crimson releases on his solo album. Although unlike the cold and mechanical-sounding King Crimson compositions this release actually manages to maintain the human element which most likely has to do with the excellent rhythmic section!

The whole album is packed with some of the most elaborate playing that I've heard from Belew and I'm quite surprised to be the only one reviewing this album since it has been out since July 2009! Granted that there are a few sections that make me think that Belew is just sliding around in different scales there are always other elements of the sound that capture my attention besides the guitar work.

Rune2000 - Prog Archives

01. a (0:30)
02. a2 (3:37)
03. a3 (3:07)
04. b (6:12)
05. b2 (3:36)
06. b3 (1:21)
07. c (6:19)
08. d (6:00)
09. d2 (2:50)
10. e (0:55)
11. e2 (7:57)

Adrian Belew: guitars
Julie Slick: bass
Eric Slick: drums

.

Wavemaker - Where Are We Captain? (England 1975) [ProgRock] @320

 Vinyl Rip - Not released in CD

Quite an excellent and unique take on electronic music from this somewhat obscure British duo. Brian Hodgson is far less well-known for this than for his work at the BBC Radiophonic Workshop (he’s probably most famous for devising the devilish Dalek voices for TV’s Doctor Who). The two Wavemaker lads perform on the mammoth Electrophon synthesizer (essentially an EMS Synthi 100 with a bunch of custom modules  hooked into it) and invited a couple of guests to sit in on drums and “timpanii” (their spelling).

The result is one of the most rockin’ synth-only records I’ve ever heard. The first time I heard the raucous fuzz-tone at the start of “Double Helix,” I had to pick my jaw up off the floor. Why didn’t someone TELL me a synth could do that? The A-side is a near-classic, with some unbelievably up-front synth-prog closing with the breathtaking “Syren’s Song.” The B-side is more low-key and contemplative, but no less high-quality. For fans of electronic music that are looking for something a bit different.
Progbear

01. Lodestar   5:06
02. Double Helix   10:13
03. Syren‘s Song   5:55
04. Wavemaker   6:42
05. Oracle   8:13
06. Enter the Eldil   7:43

John Lewis: Keyboards
Brian Hodgson: Synthesizer
Jon Keliehor: Percussion
Anthony McVey: Timpani

Kultivator - Barndomens Stigar (1981) + Waiting Paths (2006) (Sweden 2008) [ProgRock] @320

We're always on about '70s prog. Well what about prog in the '80s? Here's a nice example, though it's from the very early in the decade (recorded 1980, released 1981) so it's practically '70s anyway. A rather obscure Swedish outfit called Kultivator, whose sole album Barndomens Stigar (which boasts a b&w engraving on the cover by none other than conceptual artist & experimental musician Leif Elggren) blends the quirky herky jerky of prog complexity with blissful melody, tilting at times towards the twee whilst menacingly muscle-flexing at others. There's sizzling instrumental solo sections, and also much in the way of delightful female vocals (mostly wordless ba-ba-ba's).
Kultivator were a quartet, with lots of Fender Rhodes electric piano, as well as other organ and synth keyboards. Also recorder and/or flute. And on occasional backing vocals, a boy's choir. Yup, very proggy indeed. Armchair prog percussionists are provided with their fair share of air-drumming opportunities, percolating energetically as the drumming here does!
All those keyboards create a moody, slightly jazzistic sound which reminds us a bit of the brilliant Bo Hansson, '70s Swedish prog royalty. There's also a definite Magma influence at work (the thick bass riffing and martial drumming in the middle of "Kara Jord" for instance, leading some to go so far as to label Kultivator a genuine "zeuhl" band), and you'll hear hints of traditional Scandinavian folk music as well. Further reference points: fellow Swedes Samla Mammas Manna and Kebnekajse, also '70s UK prog like Genesis and Gentle Giant, RIO a la Henry Cow, and specifically Canterbury groups like National Health, among others. Guess that's what happens when you make prog in 1980, with a whole previous decade of genius from which to draw inspiration! Although Kultivator, um, certainly cultivated their own unique spin on what came before. We'd also say this is a good one for folks who enjoyed the modern day Swedish prog of Gosta Berlings Saga, reviewed here last year.
This brand-new reissue on the Mellotronen label features three bonus tracks added to the original LP's eight cuts, plus a whole extra bonus disc, called Waiting Paths, featuring four songs recorded by the now-reunited band in 2006. Since they already seemed a bit "out of time" (& we don't mean rhythmically!) even back in '81, it's no surprise that this more recent material sounds like a more modern Kultivator... but not that much more modern. Also included in this nice digipacked reissue, a big booklet with vintage photos and lengthy liner notes.


Barndomens Stigar (1981):
Mellotronen (MELLOCD 024) 2008
01. Hoga Hastar (03:37)
02. Vemod (02:38)
03. Smafolket (05:12)
04. Kara Jord (07:05)
05. Barndomens Stigar (05:13)
06. Grottekvarnen (07:01)
07. Varfol (02:53)
08. Novarest (06:16)
Bonus Tracks:
09. Haxdans (06:36)
10. Tunnelbanan Medley (02:19)
11. Novarest Live (12:23)

Waiting Paths (2006 / bonus CD):
Mellotronen (MELLOCD 025) 2008
01. In The Darkness' Plait (04:39)
02. Bringing Water (05:11)
03. Another Day In Life (03:45)
04. Waiting Paths (07:33)

Stefan Carlsson: bass, bass-pedals
Johan Hedrén: Rhodes, organ, synthesizers
Jonas Linge: guitars, vocals
Ingemo Rylander: vocals, recorders, Rhodes
Johan Svärd: drums, percussion
With:
Hädan sväv boys' choir

Birds and Buildings - Bantom To Behemoth (USA 2008) [ProgRock] @320

Birds and Buildings is the name of what is arguably the most notable USA's prog surprise for 2008, at least as a particular entity: given the fact that most members come from other interesting prog acts such as Deluge Grander and Cerebus Effect, this surprise of musical excellence and compositional strength shouldn't take us by surprise in an absolute sense. Well, now that I'm through with this pseudo- riddle, let me tell you right away that this "Bantam to Behemoth" album is an amazing exposure of eclectic progressive rock that ranges from Canterbury, space-rock, jazz-fusion, symphonic and avant- prog. All these elements are provided in a series of well defined sonorities linked through a cohesive unity of sounds and atmospheres.
(Cesar Inca - ProGGnosis)

1. Birds Flying Into Buildings (9:13)
2. Terra Fire (3:36)
3. Tunguska (6:33)
4. Caution Congregates and Forms a Storm (10:53)
5. Chronicle of the Invisible River of Stone (9:19)
6. Yucatan 65: The Agitation of the Mass (10:35)
7. Chakra Khan (5:59)
8. Battalion (9:55)
9. Sunken City, Sunny Day (3:19)


Dan Britton / keyboards, guitars, vocals
Malcolm McDuffie / drums
Brian Falkowski / saxophones, flute, clarinet
Brett d'Anon / bass, guitars
Megan Wheatley / vocals (5)

Asturias - In Search of the Soul Trees (Japan 2008) [ProgRock] @320

After two acoustic albums (one of which ranks among my all time fav live acoustic albums - Birds Eye View), this very talented band is now back to more electric venues. Yet they really keep the focus on implementing positive vibes and an optimistic attitude in form of instrumental music.
The creation of soft and harmonic symphonic melodies, even if in complex structures where the instruments interplay and complement each other are still the major working tools and techniques of this band. The music simply flows like a crystal clear water river, sometimes in narrowed passages where it accelerates and crisps a bit, but many times in calm and introspective forestall "run-throughs". Meaning that the band, once more, is capable of producing earfriendly tapestries where keyboards take the lead on several occasions, backed by a thoughtful rhythm section and planning acoustic guitars. The use of winds and orchestral instruments, of mellotron and all sorts of percussion instruments add a depth and a level of detail that highly enriches the music while never turning it too complex or invasive.
In fact the great art of this band is exactly maintaining the music in a very enjoyable melodic experience while exploring the possibilities that the chosen driven melodies allow, and working around those guidelines the band constantly amazes with its sympho-prog approach with a deep cinematographic feel.
The music sometimes steps into the boundaries of the epic while always keeping a soft and fragile feel. And this duality is brilliantly achieved with a natural and effortless sensitivity, proving that the musicians simply have that feel and are able to musically interpret it.
As simple uncompromising company music or full attention delight, this album never ceases to provide full enjoyment. It is one of those albums that, while never kept in continuous cd playing, will randomly find its way back to the tray in years to come. And this is what the classics are made of.
(Nuno - ProGGnosis)
01 - Spirits
02 - Revelation
03 - Reincarnation
04 - Fountain
05 - Woods
06 - Pilgrimage
07 - Paradise
08 - Storm
09 - Soul Trees
10 - Dawn

Yoh Ohyama: acoustic guitar,Spanish guitar,electric guitar, bass, mandolin, keybords, glockenspiel, harp, cello, percussions, synthesizer
With
Haruhiko Tsuda: electric guitar (VI)
Tsutomu Kurihara: electric guitar (V)
Satoshi Hirata: electric guitar (III)
Akira Hanamoto: mellotron (I,III,VIII)
Yoshihiko Kawagoe: piano (II,X)
Kaori Tsutsui: clarinet,recorders (I,II,VII)
Kyoko Itoh: violin (I,V)
Misa Kitatsuji: violin (IX)
Shigeo Sasaki: drums (II,IV,VIII)
Aya Nasuno: percussions
Kanako Itoh: voice
Hassy: voice