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 Fauna by HAKEN album cover Studio Album, 2023
3.82 | 191 ratings

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Fauna
Haken Heavy Prog

Review by A Crimson Mellotron
Prog Reviewer

4 stars Haken return in 2023 with full power with the release of their 'Fauna' album, and not only do they have a new (old) band member, but also present an album that seems to have a little bit of everything that essentially makes them who they are musically. After their experiments with the much popular brand of progressive metal known as djent, characterized by down-tuning and palm-muted strings, as they tried it out on their distortion-loaded 'Vector' and 'Virus' albums, the band seems to have now embraced their more traditional guitar tuning technique as well as their "whimsical" progressive origins, presenting a plethora of phantasmagorical sounds on this colorful and triumphant album.

Original keyboard player Pete Jones rejoins his bandmates after the departure of the very skillful Diego Tejeida, and immediately impacts the band's musical direction, as it seems with this record. On 'Fauna' there are seemingly no rules, everyone is allowed to go further on with the compositions' development, leading to some interesting, experimental and unconventional moments for Haken. For example, opener 'Taurus' is a heavy and excellent reminder of where the band left off their sound previously, while 'Nightingale' is a very intricate mini-opus that sees the band embrace a more minimal, yet rich approach to the song's unraveling. Track three is 'The Alphabet of Me', a great surprise on the album as on this song Haken embrace a very anthemic and almost poppy approach, a very memorable beautiful track. So far it seems like this is in a way a reformed Haken, they certainly remain themselves but the music is exquisitely fresh and inspired, and this feel has penetrated the whole release by all means.

The next two tracks are more in the realm of what for this band could be considered "traditional" progressive metal, with all the playful chops and tempo changes, whereas the excellent vocals of Ross Jennings shine through as usual. Very satisfying, playful and bombastic sound of the album so far, every song seems to be a world of its own, yet there are a few recurring elements like the frequent mention of animals, the wacky keyboard parts, or even the jazzier bits that are played quite tastefully every time they appear. 'Island in the Clouds' continues in the same vein, while 'Lovebite' allows Haken to further try on some "poppier" writing, to average results. The big 11-minute track 'Elephants Never Forget' is a true rollercoaster and exactly what one could expect from the Brits upon seeing the song's playtime - all the madness is there! 'Eyes of Ebony' closes off the album in a more tranquil manner, while it could be argued whether this track is actually necessary, or the previous one could have been a more appropriate album closer, but this doesn't really matter too much, as the entirety of 'Fauna' is excellent, the album sits very well in Haken's catalogue and helps them expand their sound in the most thrilling of ways.

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 Pictures by MINDSPEAK album cover Studio Album, 2014
3.66 | 23 ratings

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Pictures
Mindspeak Crossover Prog

Review by Smurfreviews

4 stars Review #18

Prog newcomers from Vienna!

Today I would like to introduce a talented band from Vienna. I discovered them recently by chance and was immediately impressed by their musicality. What's more, the band members are still very young and therefore represent a whole new generation, which in this case more than impressively proves that prog is no longer just music for old, gray men.

The five-piece band "Mindspeak" released an emotional concept album called "Pictures" right at the start of their career (2014), which deals with the inner thoughts of a fragile coma patient. Thus, the themes of life and death are close to each other, which are skillfully handled in four versatile compositions. Despite their age, the band's sound is less oriented towards modern sound elements, but combines the musical aspects of neo- and retro- prog very skillfully and tastefully. But before neo-prog haters stop reading now, I would like to point out the extremely multi-faceted and powerful songwriting. Because here the band has done everything that makes the progressive heart beat faster. Short and long songs, loud and quiet guitars, warm keyboard pads and piano parts, time and rhythm changes, dynamic changes and the most important thing of all: passion and strong melodies. Lead singer Viktoria Simon floats over all the songs with her expressive and strikingly pleasant voice, garnishing the song structures with her melodic arcs and polyphonic vocal tracks and impressing with her authentic performance of the general album theme. The instrumental interplay is noticeable after repeated listens that the band members integrate various musical influences into the respective songs without blurring the spirit of the album and the identity of the band.

I would particularly like to emphasize the twenty-minute core song "The Big Sleep" at this point. It very convincingly represents the skills of the five young musicians, as all six parts of the song were composed conceptually outstanding. The melodies are immediately catchy, the neo-prog part alternates perfectly with the retro-prog feel, arcs of tension are built up, musical motifs are skillfully processed over time and, last but not least, the band creates a curiosity in the listener to keep listening until the end.

In the end, a clean, transparent and powerful production rounds off the progressive listening pleasure and leaves me with a lot of joy and curiosity about the second album "Eclipse Chaser", which I will also be reviewing soon. Until then, you should definitely listen to "Pictures" and immerse yourself in the musically diverse world of "Mindspeak". It's definitely worth it!

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 The Great Cold Distance by KATATONIA album cover Studio Album, 2006
3.98 | 102 ratings

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The Great Cold Distance
Katatonia Progressive Metal

Review by A Crimson Mellotron
Prog Reviewer

4 stars 'The Great Cold Distance' is Katatonia's seventh studio album, released in 2006 and following what is perhaps the band's two strongest consecutive albums to date, 'Last Fair Deal Gone Down' and 'Viva Emptiness', not just chronologically but also stylistically as it consolidated the Swedes' transition from doom and death metal to a more alternative style of heavy music with many intricate and interesting moments, certainly inspired by their comrades Opeth and Porcupine Tree, among other bands, and what they were doing at the time [talking about the early and mid-2000s], experimenting with the progressive side of rock and metal. This release, however, completes in a glorious manner what could be considered a very successful trinity of classic albums for this band, as it is entirely on par with the two aforementioned ones and stands on its own as a very important pillar in Katatonia's catalogue.

This album, while necessarily heavy and vibrant, as the firepower-loaded riffs pierce the album, remains very consistent all throughout, it displays a very intelligent album architecture that does not compromise the experience of hearing the album and enjoying every single minute of it. As usual, the duo of Jonas Renkse and Anders Nyström is responsible for the writing of the album, also assisting Jens Bogren in the production about which one could not point out to any flaws. The entire thing sounds quite good, absolutely menacing and emotive, all instruments are able to impact the songs just the right way, and the vocals are impeccable, yet hauntingly beautiful in every single number on here.

Needless to say, this record gives us some of the band's absolute classics, like 'My Twin', 'Deliberation' or 'Soil's Song' as well as several lesser known but not a single bit less explosive tracks like the throbbing 'Rusted' or the more melancholic 'July', but pointing out to any highlight on here would be an injustice to all the other songs, as the whole album is really consistent, with no weak entries. This record is a very fine mixture of the things Katatonia does best in this period of theirs - delivering these dark and occasionally depressing anthems that always have this menacing heaviness to them as well as the intricacy and appeal of modern prog metal.

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 The Likes of Us by BIG BIG TRAIN album cover Studio Album, 2024
4.42 | 75 ratings

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The Likes of Us
Big Big Train Crossover Prog

Review by Progressive Heart

5 stars When Alberto Bravin was revealed as the new vocalist for Big Big Train, bringing with him his previous experience as the lead singer of the Italian band Premiata Forneria Marconi, the transition didn't simply entail entering the studio to record the next album. It was essential to subject him to a trial by fire, assessing the public's acceptance in live performances with Bravin in the lineup and understanding the extent of the reception he would receive - or not.

The overwhelmingly positive response from fans most likely played a crucial role in providing the band with the necessary confidence to work more smoothly on new material. The warm reception from the audience not only validated Bravin's selection as the new vocalist but also contributed to an environment conducive to creating new music, allowing the band to explore new directions with a solid base of support from its followers.

There is a striking similarity between Bravin's entry into the band and David Longdon's arrival during the recording of "Underfall Yard" regarding the active role both assumed. Like Longdon, Bravin didn't express a desire to be merely a performer on his debut; he significantly contributed to the composition, with his name associated with five of the eight tracks on the album. Additionally, Bravin played an additional role in co-mixing the record. Bravin's proactive involvement in creating the album not only highlights his versatility as a musician but also solidifies his position as an integral and involved member in Big Big Train's creative dynamics. His contribution isn't limited solely to vocal interpretation but extends to musical composition and production, demonstrating a strong commitment to the band's artistic process.

"Light Left In The Day" serves as the album's opening piece. Despite being almost 100% instrumental, it still carries enough lyrical weight to convey a message that inspires courage, perseverance, and resilience in the face of challenges or difficulties. It starts with a serene sound, but it doesn't take long to shift direction, delivering from then on a heavier and more symphonic instrumentation, strengthened with some brass accents. If there was still any doubt about what the band would deliver after going through such a turbulent period, I say with happiness in my heart, Big Big Train continues firmly with all its essence and peak.

"Oblivion" was the first single released by the band. Lyrically, it addresses disillusionment, introspection, and the search for something more significant in life, delving into complex themes related to internal struggle, disappointments, and the quest for meaning in life. Perhaps the idea of releasing it as the first single arose because it sounds somewhat familiar. It's a straightforward rock piece, but it still has dynamic and yet complex guitars and a precise rhythmic section, while Bravin's vocals echo a kind of delivery that is essential for Big Big Train's songs to function as they should.

"Beneath the Masts," at over 17 minutes, is the album's epic. A poetic and evocative narrative, divided into different parts, each offering a perspective or moment in history. Right from its first few seconds, it's evident that we're faced with a piece that follows the classic mold of the band and grows gradually, with no one necessarily standing out? although Clare Lindley's work on the violin is impressive at some points?but rather a group of musicians without vanity, concerned with sounding brilliant as a whole. I must also highlight Bravin's delivery with his wonderful performance on a track that explores themes such as life's journey, transition, farewell, and reflection on time passed. The poetic language combined with vivid imagery drawn by the instrumentation helps create an emotional and captivating atmosphere.

"Skates On" conveys a message about fully living in the present, embracing life's joys, and moving forward with resilience, even when confronted by the uncertainties that mark our path. It doesn't sound as impressive as the previous tracks, which is actually quite good as it allows the listener to catch their breath. Initially, it has an acoustic lightness and then develops within a refined harmony. The message here is positive, encouraging the appreciation of life and the pursuit of meaningful moments, as well as overcoming challenges and appreciating the present.

"Miramare," as the name suggests, the band alludes to the castle of the same name located in Trieste (Bravin's city). Through a very well-developed narrative, the band tells a story that addresses travel, separation, challenges, farewells, and sacrifice, all always very well illustrated through harmonies that evoke a captivating atmosphere. Bravin once again stands out as an exceptional and lovely performer with his unique ability. Meanwhile, the band demonstrates instrumental virtuosity, delivering a superb performance. Aside from the excellent and engaging violin solo - and another more vehement guitar solo - the band once again - or as it usually does most of the time - swaps a testimony focused on individual skills for a direction where the entire group stands out within instrumental passages full of energy and sophistication.

"Love Is The Light" is a beautiful ballad, surely one of the best in the group's entire catalog. Here, the band explores themes such as struggle, perseverance, and the rediscovery of love. Touching, dramatic, and incredibly sensitive, the vocals sound profound, while instrumentally, the highlight lies in the beautiful violin flourishes and the guitar solo, which within its simplicity manages to deliver something truly emotional that seems to embrace the listener. Each note and chord is like careful brushstrokes, delineating a sonic canvas that not only engages the ears but also touches the soul. A true message of facing adversity, seeking love and renewal, highlighting that love can be a source of light and strength - as the song's title itself makes clear.

"Bookmarks," in a very emotive way, seems to narrate a journey through time, filled with memories, lasting friendships, and challenges. When the first verses are sung by Bravin, it's impossible not to remember Longdon. With a pastoral atmosphere, keyboards, mellotron, and vocals play crucial roles, revealing themselves as essential elements in building a silent, almost hypnotic atmosphere. As it unfolds, the music creates a melancholic and nostalgic aura, with elegant and well-harmonized vocals accompanied by a rich instrumentation, highlighting the gracefulness of the guitars and violin. Exploring universal themes such as friendship, time, loss, and new beginnings, the band provides a poetic and emotive narrative that reflects on the journey of life.

"Last Eleven" marks the end of this extraordinary musical journey. It was the band's first composition after Longdon's sad departure. It alternates between grave and delicate moments, sounding like a reflection of life's nuances. The piece stands out through its intricate melodic developments, incorporating changes in time signature and unexpected "tight turns" that enrich the listening experience with various cadences and twists. The band seems to be sending a message to themselves, conveying a motivational message about resilience, finding strength in unity, overcoming adversity, and redefining one's worth, in other words, everything they had to do to continue with the band after Longdon's death.

With mastery, Big Big Train continues to skillfully explore the more accessible corners of progressive music. An album that stands out as a magnificent melodic work, where remarkably elaborate compositions and high-quality collective execution embrace to create something truly grandiose. The commitment to musical quality resonates in every note, showing the group's ability to evolve and maintain its relevance over time. "The Like of Us" sounds like a love letter in which the group honors its past and dedicates to longtime fans, while also revealing itself as an inviting boarding station for new admirers, while pointing to an intense and promising future.

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 Rape of the Bastard Nazarene by AKERCOCKE album cover Studio Album, 1999
3.91 | 3 ratings

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Rape of the Bastard Nazarene
Akercocke Tech/Extreme Prog Metal

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

4 stars AKERCOCKE emerged on the London extreme metal scene in 1997 formed by vocalist / guitarist Jason Mendonįa and drummer David Gray who had both previously played in the black metal band Salem Orchid. After recruiting guitarist Paul Scanian, keyboardist Martin Bonsoir and bassist Peter Theobalds, the bizarrely named AKERCOCKE commenced to create some of the wildest and craziest extreme metal of the entire 90s and with the release of its debut RAPE OF THE BASTARD NAZARENE, many extremophile metalheads certainly took notice! While the 90s had been the decade of death metal, black metal and the splintering off of many newly designated subgenres, AKERCOCKE was unusual in how it took aspects of many styles of metal and non-metal alike and forged a completely new stylistic approach.

Deemed as one of the best British debut albums ever released by Terrorizer magazine, AKERCOCKE hit the scene and immediately stood out for its erratic stage presence, unorthodox musical style and over-the-top celebration of everything Satanic and psycho-sexual. In this regard the band took the ethos of the early 70s band Black Widow where it did away with any subtitles and ambiguity and simply announced in full celebratory glee that Christianity was bad and everything Satan or Lucifer was to be revered. Perhaps a little adolescent in approach but adds a humorous element to an otherwise extremely intense delivery of death metal growls that mixed grindcore, black metal, post-punk and a touch of progressive rock.

This debut is quite different than the more progressive albums that followed. RAPE OF THE BASTARD NAZARENE was the band's gritty grimy DIY self-released album that featured a muddy production and a give no [%*!#]s attitude about how to deliver a stream of Satanic extreme metal compositions and crazy spoken word narratives that pop up throughout the album's original 33 minute plus run. After the short declaration of two girls denouncing all things Christian and declaring only Satan and Lucifer as the true way, the album starts off with a bizarre metal style that is really apparent what exactly it is. It sounds like death metal with growly vocals, blastbeat drumming ferocity, speedfest riffing and the intensity of an old school death metal but it also features a buzzing guitar sound, call and response female vocals backing up the growly leads and an unorthodox sort of grindcore meets post-punk compositional style.

The tracks retain a rather industrial style as if Killing Joke were the basis of the rhythms while the death metal handled the tones, timbres and delivery system. The track "Marguerite & Gretchen" jumps into a strange progressive metal style with clean vocals and crazy time signatures along with varying musical motifs that find the clean vocals and the growly ones having a full fledged duet along with female singers as the backups. The album is regularly interpreted by various intermissions that reaffirm their allegiance to Satan such as the 2-minute "Conjuration" which makes the entire album feel as if it was made by a Satanic cult. In this regard it reminds me of those Father Yod and his Ya Ho Wa 13 projects from the 70s were the cult members participated in chanting and other subordinate musical contributions.

I guess the best term to describe this would be avant-blackened death metal but really the debut by AKERCOCKE is unique even by the band's own standards. It's like the ferocious old school death metal of Obituary collided with the Luciferian first wave black metal of Venom with the giddiness of 70s Black Widow, the grind aspects of Pig Destroyer along with some prog technicalities and dark ambient rituals. The album doesn't seem to get a lot of love in the greater AKERCOCKE canon but it's actually one of my favorites. It's so bizarre and unapologetically evil as [%*!#] that it becomes endearing in a very morbid twisted way! Best of all the album is a testament to the creative spirit of a newbie band spewing its venom on the world's stage. Add to that the instrumental interplay is excellent and the juxtaposition of styles and interludes makes the entire thing come off as a stage performance of some kind. While the production is the main complaint on this one, personally i find it makes the underground cult feel more authentic. To me this is an excellent slice of crazy extreme metal from the 90s.

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 Vemod by ANEKDOTEN album cover Studio Album, 1993
4.07 | 486 ratings

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Vemod
Anekdoten Heavy Prog

Review by siLLy puPPy
Special Collaborator PSIKE, JRF/Canterbury, P Metal, Eclectic

5 stars After the neo-prog dominated 80s, the entire world of progressive rock exploded in the 1990s with so-called prog revival bands jumping onto the scene. Bands like Spock's Beard, Dream Theater, The Flower Kings, Porcupine Tree, Tool, Symphony X and Thinking Plague were reviving the vast wealth of sounds that were incubated in the 1970s which mostly lay dormant through the music industry dominated 80s. The Swedish scene was one of the most productive with bands like Anglagard taking the lead with its outstanding debut "Hybris" in 1992 but right at its side was another Swedish band from Borlãnge that formed in 1990 and delivered its first powerhouse debut in 1993.

ANEKDOTEN formed by Jan Erik Liljeström (bass, vocals), Nicklas Berg [aka Nicklas Barker] (guitar, Mellotron, vocals) and drummer Peter Nordins took a different approach than many of its 90s counterparts. Eschewing the blatant Pink Floyd inspired space rock, the symphonic prog excesses of Yes and Genesis or the nerdy avant-prog workouts inspired by the Belgian chamber rock scene, ANEKDOTEN looked rather back to King Crimson, specifically its "Red" album and created a heavy style of art rock that implemented a bantering Rickenbacker bass, Fripp-ian guitar angularities and a turbulent atmospheric delivery. VEMOD was the debut album and in Swedish means "sadness" or "melancholy." The album indeed delivered the perfect mix of instrumentation that offered the perfect downer vibe.

Soaked in mellotron, the album featured a veritable mix of creepy atmospheres augmented by the lugubrious cello playing of Anna Sofi Dahlberg which contrasted starkly with the heavy rock workouts of the chugging guitar, bass fuzz and percussive pummelation which in tandem delivered an oddball mix of psychedelic folk style passages with heavier prog rock that verged on drifting into extreme metal territory. Also notable was the unique tender vocal style of Jan Erik Liljeström who added that detached Thom Yorke melancholy before Radiohead latched onto the same idea. VEMOD finds the extra touches of guest Per Wiberg delivering grand piano runs as well as Pär Ekström adding the occasional flugelhorn and cornet sounds.

The opening instrumental "Karelia" sets the mood with eerie old school mellotron synth sounds that burst into the KC proto-metal "Red" dissonance which dominate the band's first two albums before drifting off more into psychedelic territories. Given the uniqueness of ANEKDOTEN's sound, the opener allows an acclimation period before the album begins its vocal dominated aspects on "The Old Man & The Sea." By this time the various complexities of the instrumental interplay had been well established and then allow the cryptic English vocals to add an entirely new dimension to the band's overall effect. Taking things much further than KC ever did with "Red," ANEKDOTEN demonstrated that KC had plenty of life left after its sole offering of that particular phase of Robert Tripp's creative output and added a 90s spin that fit in with the alternative outsider music that dominated the decade.

The album perfectly balances the brooding slower passages with the frenetic and even jarring brashness of the heavy prog workouts that find the guitar, bass and drums in some sort of trance inducing psychosis but the skilled musicians maintain firm control of their seemingly uncontrollable beast and demonstrate an unshakable restraint. Perhaps the most "Red" sounding of all is the "ballad" "Thoughts In Absence" which evokes that same more chilled moment of "Fallen Angel" however ANEKDOTEN crafted a much darker, even depressive take on KC's 1974 classic. The juxtaposition of the spidery guitar parts with mellotron-soaked ambience gives ANEKDOTEN a sound like no other and despite comparisons with bands like Anglagard, Magma, Ruins and others, ANEKDOTEN remains to this day a unique prog force that somehow conjured up the perfect blend of bombastic hypnosis.

ANEKDOTEN was no one trick pony with a constant evolution throughout its run through the 90s and beyond and although every album is brilliant in its own way, for my personal tastes i still find this debut to be my absolute favorite of the lot. It not only captured the spirit of the 70s greats that launched the entire prog scene but gave it all a serious upgrade in a way that was quite effective with a multitude of interesting diversions into everything from classical chamber psychedelia to post-rock like repetition. Needless to say the band mastered all the Frippian techniques of "Red" and took them to the next level and beyond. Despite all these astute analyses, the album is just a pure joy to experience from beginning to end and one of those that i never tire of.

Everything blends together impeccably and no element is so dominant that it becomes monotonous. ANEKDOTEN delivered one of the most artful blends of classic prog with a new spin on VEMOD and delivers musically exactly what the eerie cover art depicts. While considered a form of retro prog, VEMOD excelled at true originality above and beyond the influences. This is one of 90s prog's greatest moments IMHO. ANEKDOTEN would take the extremities even further on the following "Nucleus" before abandoning the harshness altogether in favor of a more psychedelic and progressive take on the style of the space rock revival of Radiohead. While those albums are interesting, to my ears VEMOD is one of the band's finest moments.

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 Lawrence of Newark by YOUNG, LARRY album cover Studio Album, 1973
4.32 | 15 ratings

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Lawrence of Newark
Larry Young Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Larry's first album as a band leader in five years--since he went off to work with Tony Williams and John McLaughlin-- and it's good one: he obviously had a lot of ideas to get out of his system.

1. "Saudia" (4:30) a song that opens up with shadows of the music Larry heard and participated in while working with Tony Williams and John McLaughlin for the 1969 album, Emergency! There's some real regal beauty in this rather simple, laid-back arrangement (even though Larry's initial Hammond work sounds a bit like the Sunday church organist). Still, there are at least two drummers operating (rather quietly) as well as any number of percussionists. It's the saxophones that are missing. (James Blood Ulmer's guitar work is very odd: mixed high but fairly inactive). The bass line is rather simple. (9/10)

2. "Alive" (2:00) two (or three) drummers and multiple percussionists lay down some vicious rhythm over which Larry issues forth some fairly-sedate, nearly-church organ. (4.5/5)

3. "Hello Your Quietness (Islands)" (10:17) is this where Freddie Hubbard got "Little Sunflower"? There's definitely a lot of the SANTANA effect going on on this album. The craziness of the multiple woodwinds, cello, and, of course, Hammond organ, are matched and balanced out by the calm serenity offered from the expansive rhythm section. Amazing balance! And there's even tons of melody! (18.75/20)

4. "Sunshine Fly Away" (8:50) a very solid and well-balanced opening groove immediately established from the drums, percussionists, and bass. The woodwinds and cello here are surprisingly supportive, laying back in the background, so Larry can have the spotlight all to himself. Starting around 2:00 a tenor sax starts to wiggle his way to the front. The melodies are fairly consistent--even when Larry is expressing a new one beneath Dennis Mourouse's lead. The two leads get a little crazy with their play while everybody beneath just remains calm and in control. This seems as if it would be quite a feat! The crazy sounds Larry is getting out of his Hammond are at times quite abrasive and spacey. All the while the sax settles down, occasionally going off on some tangent, until the rhythmists back off and leave the bass and cello player quite on their own. The song fades out while Diedre is finishing her solo. (18/20)

5. "Khalid of Space, Part Two (Welcome)" (12:41) a complicated multi-themed rhythm track tries to establish itself straight out of the blocks, but the cacophony of 30 infantile monkeys all screaming for attention at once rather distracts (detracts?) from the rhythm fusing into something whole and "finished." The ensuing solos are all great--even over the rather annoying downbeat honks in eighth minute; it just feels as if all of these guys--especially those working out of or above the rhythm section--are having a great time. Too bad that rhythm track never got tweaked into perfection: it's as if they were trying to be funky but were side-tracked by their bass player(s) obsession with two note bursts. Man, Dierdre Johnson can play a mean cello! (22.5/25)

Total Time 38:18

Obviously, Larry hung around with a different crowd of musicians than his NewYork City compatriots with whom he worked in the late 60s. Other than James Blood Ulmer and Pharoah Sanders, I'd never heard of any of these collaborators, but I appreciate how easily and willingly they seem to work together. A great album that would be very fun to have watched live. Also, has anyone played a more dynamic Hammond than Larry? If so, I'd love to have the reference.

A-/five stars; a minor masterpiece of Jazz-Rock Fusion--one that mixes the rhythmic flow of Santana with the crazed experimentation of Sun Ra and Ornette Coleman.

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 Welcome to the Machine by MONKEY3 album cover Studio Album, 2024
4.19 | 23 ratings

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Welcome to the Machine
Monkey3 Psychedelic/Space Rock

Review by David_ProgCritique

4 stars Head to the cosmos aboard the Monkey3 spaceship . The Swiss musicians take us on a 100% instrumental journey to the borders of Stoner, Psychedelic Rock and Prog: 'Welcome To The Machine'. From the title, we understand that it is very likely that Monkey3 will follow some paths traced in their time by Pink Floyd. The group also admitted to having been inspired by science fiction cinematographic works such as "2001: A Space Odyssey", "Matrix" or "1984", and more generally by Human-Machine relations to develop this disk. The start takes place via the first track "Ignition" on which, after a long introduction allowing time to take your place on board, a grandiose whirlwind of cosmic guitars unfolds evolving on a carpet of rhythms whirring like space engines. The production is absolutely spectacular throughout the album, allowing us to appreciate in particular the "fuzzed" or "wah- wah" sounds of the guitars, as on "Kali Yuga". The atmospheres and tempos vary from one title to another or within the same title, but the result always remains grandiose, as on "Rackman" where a mechanical, almost robotic beat seems to evoke the power of machines. It is on "Collapse" that the nod to David Gilmour 's team is most marked, the title gaining in intensity over almost 13 minutes before reaching the final collapse. The experience ends after 5 tracks and 46 minutes, leaving the listener stunned but certainly eager to return.

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 Purple by VITOUS,MIROSLAV album cover Studio Album, 1970
4.72 | 10 ratings

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Purple
Miroslav Vitous Jazz Rock/Fusion

Review by BrufordFreak
Collaborator Honorary Collaborator

5 stars Recorded in New York City on August 25, 1970, under the supervision and production of Miroslav's current bandleader, Herbie Mann. Herbie had just started his own music production label, Embryo, and here acts as both producer and distribution agent for this, 23-year old Miroslav's second record as a bandleader. Of the four hot-shot 30-somethings that participated in Miroslav's debut solo album nine months before, only John McLaughlin returns (and he only for one song).

A1 "Purple" (9:40) Billy Cobham's drums are so attention-grabbing that one forgets to listen to Miroslav's bass--which is supposed to be the lead instrument. Even when Billy is only playing rims and light toms (while Joe and Miroslav duet and duel) he is still mesmerizing. (Perhaps it's the way he's mixed: so forward and mostly on the left.) Still, Joe and Miroslav are both mighty impressive throughout. (This might be one of the more impressive Joe Zawinul performances I've heard--though it took two tracks of the electric piano to do so. I like it!) Billy's just putting on a show. (How can the others not want to just stop and watch in awe and wonder?!) Miroslav returns to bowing his double bass in the eighth minute (preparing us for Stanley Clarke). Great stuff! And not just for the phenomenon that was the young Billy Cobham. (He was 26 at the time of this recording). (18.5/20)

A2 "Mood" (7:34) Billy's on brushes for the opening of this one as Miroslav and Joe establish a soft, plodding pace with their calm spacing of their notes and chords. Miroslav picks up the bow to issue the first plaintive tones of melody and then Joe gets a turn to respond--just like a relaxed conversation over a bottle of red on a late-night couch review of a couples' day. The like attunement between the three artists throughout this song is really something to behold. A veritable masterpiece of three artists being mentally and spiritually "synched." (15/15)

B1 "Water Lilie" (8:57) the song opens with some quiet, spacious yet-very pregnant interplay between the three musicians (Miroslav, Billy and John McLaughlin) with Billy merely holding a beat on his hi-hat while the John plays around with some amazing chord selections (some of which was heard on Tony Williams' first Lifetime record [in Vashkar"] and some of which will be heard in their different states of evolution on his first Mahavishnu Orchestra albums). Miroslav is triple-tracked with electric bass, bowed double bass, and electric piano all playing within the same areas of the song. How interesting to have John's guitar chord play vying for attention with all three of Miroslav's instruments. I wonder how this was recorded: Did John have the benefit of playing with any of Miroslav's tracks--live or recorded? Unfortunately, the song is more interesting for trying to follow/predict each of its five nearly-independent feeling tracks. Fortunately for me, the listener, Seņor Cobham is never unleashed so I am able, therefore, to pay close attention to the work of McLaughlin and Vitous. (18/20)

B2 "Dolores" (4:10) recorded rather differently than the first three songs: with both drums and bass rather quieter or back further in the mix--the band is down to a duo now, but Billy Cobham and Miroslav have more than enough to offer on this Django Reinhardt-like jam. I love the way Billy's cymbal work matches all of the vim and verve that Miroslav puts into his bass and then the toms fill the spaces where Miroslav rests! Excellent entertainment. Too bad there wasn't anything as memorable as the album's opening song. (8.875/10)

B3 "It Came from Nowhere" (5:18) Another "quartet" with Billy Cobham delighting and impressing on his drum kit while Miroslav plays electric bass, bowed double bass, and a pretty impressive electric piano. Tbis one feels a little less finished, more haphazhard and uninspired (especially from Billy) than Side One's songs. (8.75/10)

Total Time: 35:39

This album may be where I find my favorite work from Joe Zawinul. The trio especially seem to have an incredible rapport and ease with one another as I've never heard Miroslav feel this much "a part" of an organic whole--though for three of the songs it took three tracks of his own expression to accomplish. Still, a very impressive album. I'm sure Herbie Mann felt no surprise (or misunderstanding) when Miroslav left him to fly off in another direction (to Weather Report) after their next album together.

A/five stars; a minor masterpiece of Jazz-Rock Fusion featuring four artists reaching the absolute peak of their powers (but not yet fully aware of such).

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 Veil by DRIFTING SUN album cover Studio Album, 2024
4.32 | 19 ratings

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Veil
Drifting Sun Neo-Prog

Review by alainPP

4 stars 'Veiled' begins rural, theatrical, with a Mecano tune yes 'Hijo de la luna' it's beautiful, nostalgic, cracklings and a crystalline piano arpeggio, the orchestral keyboard; we see the dancer in the bottle.'Frailty' entry into the album and the direct slap; two symphonic minutes reminding me of the best Arena in the neo-prog vein; an air of melodic gadget inspector, the Hammond bringing warmth, playful rhythm, the theatrical vocal imposing this operatic title on an enjoyable side. Break with choir and pom-poms, a vibrant Kansas violin that of Suzi; the melodic, gently sloping, grandiloquent finale and the distant guitar solo giving goosebumps, all for a goddess story; nostalgic genesisian finale. 'Eros and Psyche' again the airy piano, leering air on Alan Parsons Project; synth flirting with Arena's 'Butterfly', the neo well in place; the explosive, fresh, cheerful chorus of the nostalgic opening; Ralph all in delicacy. Jargon's solemn vocal 'The Thing' before the folk-prog refrain of a Viking assembly; the melodic air before starting on a creamy synth solo, yes it makes you want, eyeing what Tony did from Genesis; moving guitar solo which echoes the thoughts of the fighters, all amplified by Fudge; a cappella finale with Ralph showing his dexterity in breathtaking echo stereo.

'2-Minute Waltz' nervous grand piano, playing with the keys and showing the importance of classical in prog, a little virtuoso interlude. 'Through the Veil' with the Genesisian Hammond, the drums and the heavy guitar for the powerful intro, a redundant tune of 'Frailty'oui the inspector, before letting the sound go on a progressive flight handling rock, pop and synths modern Saga; text on dementia and its agonies with a solemn ending. 'The Old Man' nostalgic, melancholy atmosphere giving way to hope; the voice is more reminiscent of Michael from Saga; guitar supported by the keyboards before escaping on a solo where the wah-wah pedal lets go, rises and explodes for an enjoyable finale with deafening silence. 'Cirkus' syncopated tune, melody from 1001 nights, a waltz, a drunken work, beautiful work by Jon; the tune from the beginning of the album returns here, introducing the theatrical concept effect; the dissonance is required, jarring the listener accustomed to a neo-consensual sound; accordion break from the jerking 'Time of the Gypsies'; this hubbub becomes bewitching with a folk, Olympian chorus; the progression with the keyboard throwing out its notes for the guitar to land on; the haunting finale to create the lack.

Drifting Sun has released a very beautiful album of creative neo-prog rock, captivating, danceable and energetic, a new sound.(4.5)

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