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Last 50 reviews
Studio Album, 2016
3.98 | 153 ratings

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Years In The Garden Of Years
Edensong Eclectic Prog

Review by ElChanclas

After listening to this album around 10-12 times in the past 5 days I can properly ask why isn't this band like HUGE1? Sorry, that's my Jethro Tull fan side searching for unanswerable questions. I can't remember how I got to this album but I know that when I saw that cover exploration was mandatory! Very fortunate for me because not only was I correct judging the book by its cover, I am also hooked forever because the music here is simply fantastic. Moving forward to the review, this album consists of mainly three tracks:an opener, an epic suite with eight parts, and a closer. Medieval Celtic-like melodies kick off with Cold City, with a very suitable metal edge and all the gadgets from symphonic prog (flutes, Hammonds, atoned guitar licks and flawless rhythmic section. James's vocals almost bring the music to a more conventional set up, but it ends up being just a minor tease, prog is all over the place, in all forms and definitely very eclectic, and the flute work is outstanding, as well as the double bass drumming with a very theatrical and kind of ritual ending. Years in the Garden of Years, the title track and center epic for the album I. End Times in Retrospect starts as a mellow acoustic and atmospheric track, still on the same melodic mood, accessible but dark, with celestial cellos and a change of tempo that will catch the listener immediately. Chaotic keyboards lead to a flute solo accompanied by flawless bass and drums, similar to what you would expect from a modern Tull album with a progressive metal side to it. Beautiful. II. In the Longest of Days. The single (radio version I guess) blends in with catchy vocal melodies and a more commercial approach to the musical crafting. This is a tune you will be humming to after the first listen, then singing out loud after second listen, then forever inserted in your brain after third listen, that's it. I haven't really heard properly anything from Dream Theater yet, except for some classics, but I do hear some of its influence here. Symphonic Progressive metal prog? The various synth layers are phenomenal, hooks and choruses memorable, era worm melodies for sure. III. The Hollowed. Seroff's flute playing is particularly enchanting, unquestionably influenced by the 70's scene and incredibly suiting for this album. Acoustic guitars and very emotional vocals (and lyrics) take over for the first half of the song until Waldman's percussion and invited cellos start defining a louder environment for the power ballad, which obviously has also its unexpected moments, like those where frenetic piano interrupts setting base for more exquisite flute and cello interaction, really majestic and enchanting. Impossible a better melodic ending for this part of the epic. IV. Down the Hours is probably the darkest and heaviest part of YITGOY, even the flute is that dark and powerful and the upper tempo is very enjoyable, mellotron Vs progressive metal guitars, some uncommon shredding and then some heavy cellos. I can't be the only one in love with this music, right? This is a fantastic piece of art, exceptionally executed. V. Chronos, one of my favorite passages with that sort of bossanova at the beginning and the majestic flute soloing and fairy tale piano playing. But when the metal kicks its when everything arrives to that next level, again all instruments interact together creating this fast symphonic metal orchestration that its hard to evade or ignore, 9 minutes of progressive melodic madness, sad, happy, dark, bright, fast and furious and mostly instrumental, intermezzo for the impressive epic. The very quite and almost playful last seconds help change the mood for the second half of the title track. VI. Generations. Fat bass and "British" sounding vocals connect with the listener through the lyrics and their melodies but for a short period, with a spatial feel that preludes something powerful is about to happen, The Apocalypse? VII. The Atman Apocalypse. Power metal, cello and flute enhanced, but this is power metal I its core with even some hints of heavy prog or heavy Neo prog on the guitar riffing, its amazing how guitars and keys understand each other so well. But this specific song has its better moments in the rhythmic section, flawlessly supporting the symphonic columns. So we better conclude that this is the result when s band like Jethro Tull and Dream Theater/Symphony X collide, powerful, melodic, complex and very very symphonic. VIII. Regenerations. This is how the epic center piece for the album comes to an end, very mellow and melancholic, same feeling we experience on the last day of a trip, reliving the memorable moments but knowing there's nothing there's no more, at least for a while. 5 plus minutes of very close storytelling with little percussion but tons of guitar and keys arrangements before returning to the full band explosion with a mid tempo vibe and virtuoso synth playing. Flutes and cellos on the back, with bass, drums and guitars teasing with a more doom metal tone, until it just fades away. Yawn of a blink, what a unique song title. A little more complex and messy than Cold City but blending almost every mood we have heard in the past 65minutes, powerful vocals, metal riffing, minstrel sounding guitars, the backing cellos, the double bass drumming, the leading flute soloing and, why not, some twin guitar battle and symphonic key and flutes that melodically bring balance to the last moments of the record. The END!

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Studio Album, 2021
4.29 | 83 ratings

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A View from the Top of the World
Dream Theater Progressive Metal

Review by Necrotica
Prog Reviewer

Dream Theater in 2021. What exactly would you expect at this point from a new release by the progressive metal veterans? With the exception of the odd experiment here and there (such as the ill-advised The Astonishing), the band's tried-and-true formula doesn't really get shaken up these days. In fact, their previous album Distance Over Time was one of the safest releases they'd put out in quite a long time; perhaps the more conservative approach was meant to balance out the ambitiousness of a two-hour-long rock opera, but that didn't really change how predictable its songwriting was. So with that in mind, it was hard to have any serious expectations for A View from the Top of the World, even with the prospect of a 20-minute epic to cap it off. But while it doesn't reinvent the wheel in any major way, it does happen to be the band's best record in a decade.

Really, the album title and cover art say it all. Dream Theater don't have anything else to prove from the vantage point of being one of progressive metal's foremost legacy acts, so A View from the Top of the World comes off more as a band writing and playing for the sake of enjoying their craft. Songs like the highly technical barnburner "The Alien" or the off-time chugging of "Answering the Call" aren't doing anything new per se, but the quality lies in how these old ideas are being presented here. Despite the song lengths being pretty long as usual, the more wank- driven bits are surprisingly lean and controlled - solos generally don't last over two minutes, and while they're still pretty masturbatory as one would expect, they're also pretty tasteful compared to a lot of Dream Theater's modern output. "Invisible Monster" is a perfect representation of this, with John Petrucci and Jordan Rudess' guitar and keyboard parts interlocking with each other to form some really neat harmonies.

Of course, the band do get more adventurous and crazy during the two epic pieces, "Sleeping Giant" and the mammoth title track. The former features some excellent symphonic bits from Rudess' keyboard parts, as well as some SHOCKINGLY strong singing from James LaBrie. In fact, this album is the best he's sounded in a long time; he doesn't try to stretch himself too much vocally on the record, and I think that's to his benefit. In short, he simply sounds more comfortable here than he has on previous albums. As always, the rest of the band show off their technical acumen very nicely on "Sleeping Giant" with shred solos and off-time licks, with the honky tonk piano of Rudess' solo being a particularly fun highlight. The title track, meanwhile, goes through about as many twists and turns as you'd imagine from a modern Dream Theater epic. It mostly relies on a flurry of technical riffs and solos, but I have to give a nod to the beautiful midsection; the drums drop out, and all that can be heard is Petrucci's clean guitar ringing out before the rest of the band eventually enters back in. Great stuff, and it plays like a leaner version of the symphonic break in "Illumination Theory" from the band's self-titled effort.

The only drawback to all of this is what I've already mentioned: a lot of what's found on A View from the Top of the World is what you would expect from Dream Theater, even if it's executed very well. The only true surprise on the record is the fantastic power-ballad "Transcending Time", which sounds like it could have been pulled straight out of one of the band's 90s albums. It's incredibly emotional and uplifting, giving off similar vibes to "The Looking Glass" but not wearing its influences on its sleeve like that song did. But could there have been more songs like that on the record? Sure, and it would have been nice to hear, but maybe that'd be asking too much of the band. A View from the Top of the World is an incredibly solid album that brings out the best qualities in Dream Theater's current incarnation; it's predictable, yes, but you'll most likely still enjoy it if you keep that caveat in mind. This is the best the band have sounded in a long time, and certainly the best this lineup has sounded; let's just hope they can keep this trajectory going for future records.

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Studio Album, 2020
4.06 | 138 ratings

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S.E.I.
La Maschera Di Cera Rock Progressivo Italiano

Review by TenYearsAfter

This acclaimed Italian formation was founded in 2001 but between its debut album from 2002 and this new album entitled S.E.I. (Separazione, Egolatria, Inganno which means Separation, Selfishness, Deceit) the band only released four studio efforts, the previous one Le Porte Del Domani (also released as The Gates Of Tomorrow) is from 2013, a gap of seven years so it was about time for La Maschera Di Cera to present a new album to its many fans.

Listening to S.E.I. (Separazione, Egolatria, Inganno which means Separation, Selfishness, Deceit) I remember the words of a fellow proghead and Tron-maniac, in 2003: he had visited the Belgian progrock festival Spirit Of Verviers and was blown away by La Maschera Di Cera, "with 3 Mellotrons on stage" he yelled euphoric! Well, perhaps these 3 Mellotrons were in the recording studio during S.E.I., incredible, what a mindblowing Mellotron drenched sound, always a bonus for me! This new album contains 3 long tracks, with a running time of almost 43 minutes, that reminds me of the good old vinyl era.

The first composition Il Tempo Millenario is the epic of the album, close to 22 minutes. It sounds mainly in the realm of Old School symphonic rock, with lots of changing atmospheres: dreamy with folky flute play or tender piano, accellarations featuring powerful saxophone or flute soli, and sumptuous outbursts. Often these intense eruptions are layered with majestic Mellotron choirs, for me this is Tron Heaven! The swirling Hammond organ sounds like a tribute to Keith Emerson. While the agressive bass work from the prolific musician Fabio Zuffanti reminds me more of King Crimson, and Anekdoten. The final part is very compelling, delivering a slow rhythm with synthesizer flights, and again majestic Mellotron choirs. Wow, this is outstanding Italian prog, an 'eargasm', topped with inspired, slightly theatrical Italian vocals that match perfectly with the mighty Mellotron sound!

The second track Il Cerchio Del Comando often brings the alternating and dynamic folky prog of �nglag�rd to my mind: between mellow and bombastic featuring lots of flute play, Hammond, Mellotron violins, and a growling bass, with powerful Italian vocals. In the end a build-up with a wonderful Mellotron, piano and flute, and a bombastic closing section featuring Hammond, powerful bass and sparkling flute.

The final song Vacuo Senso is the most varied, alternating and experimental, with hints from Anekdoten (lush Mellotron violin sound), early King Crimson (jazz and avant-garde inspired), Classic Italian Prog like PFM and Banco, embellished with omnipresent saxophone work, a wonderful Mellotron violins interlude, and lots of interesting musical ideas. The final part is trademark La Maschera Di Cera featuring a compelling Mellotron drenched symphonic rock atmosphere, wow!

It's incredible how this band has matured, in 2002 I got their first album as a CD-R (while writing for Dutch prog magazine iO Pages), it sounded promising but a bit unstructured at times. Almost 20 years later this new La Maschera Di Cera album turns out to be a very pleasant and well structured musical experience, recommended to Tron-maniacs and Italian prog aficionados.

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Live, 1979
2.46 | 25 ratings

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Event '76
Area Rock Progressivo Italiano

Review by VianaProghead
Prog Reviewer

Review N� 473

Picking matrices from different styles of music, from jazz to progressive rock music through the vanguard, Area have proved to be the most courageous and original band of Italian prog rock scene. Area began their musical adventure at the end of 1972, gathering musicians from different backgrounds, like pop, free jazz, electronic experimentation and the contemporary music, with the common will of the overcoming of the individual artistic experiences to arrive at a kind of a 'total music'. But to make their mark, it was also and above all the incredible voice of their singer, Demetrio Stratos.

In the begining, the band consisted of Victor Edouard Busnello, Giulio Capiozzo, Yan Patrick Erard Djivas, Patrizio Fariselli, Leandro Gaetano, Paolo Tofani and the Greek Demetrio Stratos who was born in Alexandria, Egypt. Subsequently, Busnello leaved the group and Djivas would become part of Premiata Forneria Marconi (PFM). Djivas would be replaced by Ares Tavolazzi. The sixth member of the group-shadow was Gianni Sassi (Frankenstein), the founder of the Cramps Records and creator of some of the most interesting cultural projects in that period. Sassi also handles with the text and image of the band. The music of Area is 'music fusion type internationalist', as was defined by Stratos, the singer and soul of the band. Area tried to make a music style 'total'. Stratos came with his experiences from Greece, other had experience of electronic music in London, two were from jazz and another from contemporary music. All tried to merge, having a combination between rock, jazz, contemporary, Mediterranean and Balkan music.

All this together represents a shift from experimentation, which was very close to the music of John Cage, to jazz- rock, folk from the Middle East and to the Mediterranean folk. One of the goals of the group, in fact, was to tie a purely experimental sound to the Italian and Mediterranean sounds, to rescue them from the world of subculture in which criticism has relegated the Italian music. While Area was coming, like many other Italian groups of the time like Banco Del Muttuo Soccorso, Premiata Forneria Marconi and Le Orme, Area was also characterized by the radical nature of the content and the musical language adopted by them, which identify utopias and desires of that generation of the 70's.

Area had their heyday between 1973 and 1979, before the death of the singer Demetrio Stratos in 1979, where the charismatic and characteristic voice of the band fell silent. During those years Area plays a partly enriched style by experimental sounds and jazz rock, which sometimes takes up also oriental elements. The textual messages announce radical leftist positions. In those years, the band released five studio albums 'Arbeit Macht Frei' in 1973, 'Caution Radiation Area' in 1974, 'Crac!' in 1975, 'Maledetti' in 1976 and '1978 - Gli Dei Se Ne Vanno, Gli Arrabbiati Restano!' in 1978 and two live albums 'Are(A)zione' and 'Event '76' in 1979. The last one will be the subject of this my review.

'Event '76', is a live album of Area which was recorded in 1976 in the great auditorium of the University of Milan. It was recorded at the time when the group was working on their fourth studio album 'Maledetti'. Unlike the 'Concerto Teatro Uomo', which was recorded during the same period, there are no area classics to be heard here, but only excessive collective improvisations. In addition, not all band's members are going on, as bassist Tavolazzi and drummer Capiozzo stayed at home. The saxophonist Steve Lacy and the percussionist Paul Litton took part in the event, which can also be heard as a guest musician on 'Maledetti'. The sound of the recording session is quite good, much better than that the sound of the 'Concerto Teatro Uomo'. However, it's quite far from the quality of a professional live recording, really.

'Event '76' has only three tracks, 'Caos' part one and two and the title track 'Evet '76'. As I already indicated, there are only free improvisations on 'Event '76' in the sense of the song title 'Caos'. This is a wild avant-garde sound clutter, a kind of a bizarre but fascinating free-jazz rock decorated with the crazy vocal acrobatics of Stratos. To describe the music that Stratos and colleagues perform is quite difficult, really. In 'Event '76' the band tries a concept of random improvisation. Each musician tries to improvise. The result is an 'ordered chaos'. The musician is no longer bound by the play of other musicians. His improvisation is now indeed free. And this freedom is the focus of the music.

Conclusion: The radical concept of music of Area, somehow isolated the band from the developments in the music scene, a certainly wanted development. In this respect, it's hardly surprising that Area found hardly any collaborators or imitators. What remains is the courageous, but very difficult, attempt at a radical reinterpretation of music, art and interaction. Seen in this way, Area was far ahead of their time and also of the prog music, who never went down on such a thin ice. And if there is one of their works that shows so clearly the radical concept of their art, I think it's 'Event '76', really. Area's 'Event '76' is anything but a hot recommendation for the usual proghead. However, those who have learned to deal with the free forms of jazz and the contemporary music will be able to discover a fascinating and truly innovative band in Area. But, this isn't a good starting point. As memowakeman said: 'Caution: Improvisation Area!'.

Prog is my Ferrari. Jem Godfrey (Frost*)

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Studio Album, 2021
2.87 | 19 ratings

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It's None of Your Business
Caravan Canterbury Scene

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

It's hard to believe that CARAVAN has existed in one form or another as a band since 1968. That's well over a half century! Regarded as one half of the original Canterbury Scene along with Soft Machine this band released five classic albums beginning with its 1968 eponymous debut and ended with 1973's "For Girls Who Grow Plump in the Night" before succumbing to the same record company pressures that many prog bands experienced. Starting with 1975's "Cunning Stunts" CARAVAN began to water down its Canterbury jazz-rock roots and instead deliver sometimes bland AOR and cheesy pop that alienated fans of yore and attracted little if any new followers.

Somehow through it all band leader and only band member to embark on the entire CARAVAN journey, Pye Hastings has continued to sporadically release albums throughout the 80s, 90s and 21st century and while few have probably been sitting back waiting for the next chapter of the CARAVAN canon, here it is! IT'S NONE OF YOUR BUSINESS is the first studio album since 2013's "Paradise Filter" and released on the MadfishMusic label. The album features nine tracks with the current lineup of Pye Hastings (guitar, vocals), Geoffrey Richardson (viola, mandolin, guitar), Jan Schelhaas (keyboards) and Mark Walker (drums). Lee Pomeroy guests as the bassist and Jimmy Hastings adds some additional flute sounds.

Given CARAVAN's fall from grace so very long ago, one may ask why another CARAVAN album so late in the game? After all it's only the first five albums that have any sort of epic status and the remaining 11 albums that followed merely forgotten filler that even very few CARAVAN fans get excited about. Well it makes a little more sense when you realize that Pye Hastings wasn't one of those Canterbury dudes that went from band to band like many of his compatriots did. Nope, CARAVAN was and remains his baby and the ONLY band he has participated in since leaving The WIlde Flowers so very, very long ago. Born in 1947, Hastings is now in his 70s and no spring chicken and unfortunately his classic vocal style has deteriorated a lot as has his songwriting bravado.

IT'S NONE OF YOUR BUSINESS is an earnest attempt to recreate the classic CARAVAN sounds of yore circa 50 years ago when "If I Could DO It All Over Again, I'd Do It All Over You" and "In The Land Of The Grey And Pink" were circulating in the British underground. Unfortunately this latest offering falls flat in capturing those long abandoned moments and Pye Hastings' vocals haven't aged well as the entire album sounds like your grandfather telling tales of yore in musical form although the lyrics are purportedly in reference to the more recent pandemic and other events. While CARAVAN has always been more of a progressive pop band shrouded in Canterbury mystique, IT'S NONE OF YOUR BUSINESS unfortunately points to the albums that came after the classic big 5 era rather than returning to past glories.

Right from the start with the opening "Down From London," it's clear that Hastings is trying to rekindle the magic that has elevated CARAVAN into classic prog status but unfortunately doesn't succeed in doing so. The tunes do employ catchy pop hooks that are indeed out of the CARAVAN playbook but missing are the progressive touches that made albums like "Waterloo Lily" and "For Girls Who Grow Plump In The Night" so utterly addictive. The album comes off as a soft rock tribute to 70s folk rock without ever going where a classic CARAVAN fan would hope. While nobody really expects an artist well past his prime to deliver a product that will outdo the classic era, i was hoping for at least something progressive.

What really is the deal breaker for me with IT'S NONE OF YOUR BUSINESS is that Hastings' vocals sound so feeble and weak. We can probably safely say that CARAVAN hit its prime close to 50 years ago and will never rekindle those classic moments but you can't blame an old timer for trying. Unfortunately this album does nothing for me whatsoever. If only a few time signature deviations were inserted or some jazzy moments. Nope, this is just simple songwriting that is pretty straight forward with only a few flute sounds to give any indications of a prog connection. It unfortunately appears the classic past masters are no longer capable of delivering what the fans truly want from them. So it would be best to give this album a miss and instead turn to Norway's Needlepoint who HAS successfully reconstructed those classic CARAVAN sounds circa "In The Land Of The Grey And Pink" with amazing acumen. Oh well, Pye. We still love you! Just not this newest edition to your post-classic era canon.

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Studio Album, 1975
3.16 | 373 ratings

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Cunning Stunts
Caravan Canterbury Scene

Review by siLLy puPPy
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

Early 70s prog bands must have lived in totally cognitive dissonance knowing they were crafting some of the most cutting edge music but well beyond the ability of the public to access it given the record companies weren't exactly good at promoting rock's next best thing since sliced bread. CARAVAN, of course, is one of the fundamental pillars of the Canterbury Scene, yet even this band that was probably the most accessible of any band later thrown into that designated niche of prog rock had a difficult time making ends meet in terms of financial survival. True the band's first five albums are NOW classics in the world of prog rock but it took over four decades for the rest of the world to catch on therefore it's no wonder that as other pop rock bands were raking in millions in album sales, bands like CARAVAN were struggling just to feed themselves and therefore the temptation to hop the fence was intense!

Everybody knows the woes of the 1970s where around the middle of the decade even the few popular prog bands that DID manage to eke out a living like Yes, ELP and Jethro Tull started to tame their progressive tendencies in lieu of more accessible pop flavored music (bands like Pink Floyd were the exception since they already were crossover bands). Amazingly CARAVAN was already considered the most pop of what is now known as the Canterbury Scene yet despite critical acclaim and small loyal fanbases never managed to break into the profitable crossover world of rock music. It's no wonder by 1975 when King Crimson called it a day and other bands started caving to the pressures from their respective record labels that CARAVAN would begin to jettison most of those progressive attributes that separated them from the "mainstream" rock scene. After five albums ending with "For Girls Who Grow Plump In The Night," CARAVAN ventured into the next phase of its career, one that true fans despised and also one that attracted very few new followers.

CUNNING STUNTS was CARAVAN's sixth studio album and the first to feature newbie bassist Mike Wegwood. At this stage CARAVAN was trying to play both sides of the fence with insipid pop shlop like the AOR ballad "Lover" as well as still trying to refrain from alienating prog stalwarts with the 18-minute "Dabsong Conshirto." The results are clearly a step down from what had preceded but while many will write this album off as a total train wreck, after a few careful listens it does redeem itself as an album that while not in the same league as what came before, isn't nearly as bad as many make it out to be either. CARAVAN's music had always been imbued with catchy pop hooks but the problem many have here is that the band had pretty much abandoned the Canterbury jazz flavors that decorated the albums of yore.

The shock sets in immediately with the opening "The Show Of Our Lives." Wow. Is THIS really CARAVAN? If you thought "In The Land Of Grey And Pink" was too poppy, well you've been set straight after hearing this! The band also tried to adopt a Nazareth sound with "Stuck In A Hole" by going the harder rock route but unfortunately it's not hard enough to be hard rock and sounds a bit wimpy. Like many prog bands turning to the pop side of the music industry, CARAVAN threw the most accessible tracks out near the beginning but starting with "No Backstage Pass" the tunes become more orchestrated and slightly progressive until we get to the massive 18-minute "Dabsong Conshirto" which on paper sounds like a good idea but doesn't quite scratch the itch for an mega-comp of that running time. Still though it's not bad and is even catchy enough to warrant return visits.

Perhaps the backlash against CUNNING STUNTS is due to the fact that everyone wanted the same music as they had become accustomed to but at the time were unaware there was sort of a retrograde effect in the music industry where profits were becoming more and more the driving force over musical innovation. Given the knowledge of the obstacles bands like CARAVAN was facing at the time albums like CUNNING STUNTS can be appreciated a bit more but let's not mince words here. This album was and remains one of the lowest points of the band's career and although the tracks are melodic and catchy from a pop rock point of view, aren't exactly worthy of classic rock radio status either. For better or for worse CUNNING STUNTS very much signifies the point in CARAVAN's history where they transmogrified into stunning cunts and thus living up to their spoonerism title. Sad but true but despite it all this album isn't as bad as many make it out to be. The bonus tracks on the Decca remaster somewhat make up for it. OK, only marginally.

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Studio Album, 2021
3.00 | 15 ratings

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I Dreamed of Electric Sheep / Ho sognato pecore elettriche
Premiata Forneria Marconi (PFM) Rock Progressivo Italiano

Review by TenYearsAfter

During the years Classic Italian Prog legend PFM turned out to be a musical chameleon, from symphonic rock to jazz and pop, and that's exactly how PFM sounds on this new album (with guest musicians Steve Hackett and Ian Anderson in one track), as a musical chameleon, incredible, what a variety!

An exciting blend of classical (wonderful orchestrations) and Heavy Prog (swirling Hammond, flashy Minimoog and heavy guitar), in a sumptuous and dynamic atmosphere, but with a subtle tender piano conclusion in the instrumental Mondi Paralleli.

Dreamy with beautiful mellow work on violin and piano, topped with melancholical vocals in Umani Alieni.

AOR featuring a mid-tempo with rock guitar and a spectacular synthesizer solo in La Grande Corsa.

A funky bass, biting wah-wah guitar, and a heavy guitar solo in the end in Pecore Elettriche.

Pop meets rock with powerful vocals and a swinging rhythm in Mr. Non Lo So.

Another swinging rhythm, with wah-wah guitar and slap bass, in the instrumental Transumanza.

The final composition Transumanza Jam (instrumental) is at the level of the first track, very exciting and dynamic, from swirling Hammond organ and pitchbend driven Minimoog to heavy guitar, the interplay is awesome, to me it sound like late Seventies Al DiMeola, wow!

Apart from the first and final two compositions the music on this new PFM album (with Franz Di Cioccio and guest Flavio Premoli as the only original members) is not my cup of tea. And unfortunately the very talented violin player Lucio Fabbri has a pretty modest role on this album, I was lucky to witness a Dutch PFM gig with him, that was awesome.

P.s.: The 2-CD contains an Italian ? and an English version, I prefer the Italian one because the singer sounds more expressive in his native language.

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Studio Album, 2021
4.00 | 2 ratings

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Collar Huichol for Dog Style Unique Hand Made. (L, Multicolor)
Chaos Over Cosmos Tech/Extreme Prog Metal

Review by UMUR
Special Collaborator Honorary Collaborator

"The Silver Lining Between the Stars" is the 2nd full-length studio album by multi-national progressive metal act Chaos Over Cosmos. The album was independently released in August 2021. It�s the successor to "The Unknown Voyage" from 2018 although the band have released a couple of EPs and "The Ultimate Multiverse (2020)" compilation album in the years between the two album releases. Chaos Over Cosmos is basically a one-man project featuring Polish musician Rafał Bowman (and a revolving door of lead vocalists) who plays all instruments and handles all programming on the album. American singer KC Lyon is new in the lineup on "The Silver Lining Between the Stars" and he replaces Joshua Ratcliff.

Stylistically the material on "The Silver Lining Between the Stars" is technical/progressive metal with screaming aggressive vocals and clean vocals on the closing track "The Sins Between the Stars". Blistering fast-paced lead guitar themes and solos, heavy riffs, keyboards/synths and well programmed drums. The album features a futuristic sci-fi atmosphere which is further enhanced by the lyrics and the cover artwork.

"The Silver Lining Between the Stars" features 5 tracks and a total playing time of 35:11 minutes. Opening track "Violent Equilibrium" is an almost 11 minutes long composition and it�s an unconventionally structured song too, as it�s fully instrumental for the first 5 minutes before the vocals kick in. Already at this point it should be obvious to anyone listening that Bowman is an extraordinary musician and a skilled composer too. My jaw drops several times during "Violent Equilibrium" and that continues on "The Last Man in Orbit" (which is a slightly more synth heavy track) and on the instrumental "Eternal Return".

Chaos Over Cosmos could easily have opted to continue down that path on the next two tracks, but here�s where Bowman throws in a couple of surprises as "Control ZED" features a couple of more simple and catchy moments, which at times sounds almost punkish (while still being a very technical and progressive track), and "The Sins Between the Stars" shows the band in an even more eclectic mood, as it�s a slow building progressive track featuring many different sections and atmospheres, and as mentioned above also clean vocals.

The album is a well produced affair, and I think the programmed drums are well arranged and pretty well sounding too. The only flaw is that the hi-hat sometimes has a digital tone, but it�s a minor flaw, and the programmed drums overall work well. Upon conclusion Chaos Over Cosmos have made great advances in terms of songwriting (although there are times when the different sections feel a bit disjointed), performances, and production values, and "The Silver Lining Between the Stars" is a high quality technical/progressive metal release. A 4 star (80%) rating is deserved.

(Originally posted on Metal Music Archives)

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Studio Album, 2003
3.67 | 125 ratings

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A Blessing in Disguise
Green Carnation Experimental/Post Metal

Review by Gallifrey

16th October, 2021: Green Carnation - A Blessing in Disguise (progressive rock/metal, 2003)

I actually got into this one before Light of Day, Day of Darkness, which perhaps is why I still enjoy it quite a lot and don't unfairly compare apples with oranges. This doesn't even attempt to follow-up that album in a similar vein, and it's all the better for it. No epics here at all, as the band focus on concise and vocal-oriented songs, and generally they succeed. There are parts of this album that veer into some odd post-grunge/alt-metal vibes that would plague its successor, but for the vast majority of its run this is melodic, catchy, well performed and dynamic progressive metal. There are even some sections, such as the second half of "Lullaby in Winter" that could be up there with the band's best ever work.

7.8 (11th listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

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Studio Album, 2008
3.89 | 23 ratings

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The Black Flux
Virus Experimental/Post Metal

Review by Gallifrey

1st March, 2021: Virus - The Black Flux (experimental rock/metal, 2008)

A truly fascinating fusion - I've often said that those spidery dissonant arpeggio riffs that dominate some areas of black metal could sound perfectly natural in other contexts. It's something that artists like Oranssi Pazuzu and Hail Spirit Noir developed in the 2010s, but here in 2008 we have an album from Virus that pre-dates the trend by nearly a decade. This is barely a metal album, let alone black metal, but there are dozens of riffs that could be mistaken for Deathspell Omega ones, this time piled on top of psychedelic rock vocals and songwriting more than any metal. I'm not entirely sold on the album, particularly the first half, but it's undeniably a very unique style.

6.7 (3rd listen)

Part of my listening diary from my facebook music blog - www.facebook.com/TheExoskeletalJunction

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