Shivas Quintessence - Cosmic Surfer (2005)

In 2003 Mystic Records released the debut CD by Shiva Shakti, a collaboration between Phil "Shiva" Jones, original vocalist for the band Quintessence, and Swiss synth wizard Ralph "Rudra" Beauvert. The CD was a mixture of original songs and reworkings of Quintessence songs. Though the band name has changed to make the Quintessence connection more overt, Cosmic Surfer is really the follow up to the first Shiva Shakti CD. There may be an ocean between them but that has in no way hindered Phil and Ralph's ability to work together to create music, and indeed this latest effort is a 2 CD set. The first disc includes all original music while the second consists of new recordings by Phil and Ralph of Quintessence classics, including two songs originally written for Quintessence never recorded. To be sure, Phil struck gold in hooking up with Ralph, and he acknowledges as much in the liner notes. Ralph brings a love for the original Quintessence along with a taste and talent for varied styles of electronic music to the team, which makes for a superb combination with Phil's passionate, expressive vocals and witty, humorous and poignant lyrics. The result is a unique and wholly accessible sound that crosses multiple stylistic boundaries and defies simple classification. Disc 1 opens with "Reptilian Corporate Sign Language", a 10 minute tune with cool grooves, stinging guitar licks and freaky alien synths to provide the musical pulse for Phil's lyrics attacking big business and its role in creating a mindless consumer culture. Obey… conform… breed… consume. And halfway through the music transitions to a segment where the mood darkens and Phil sings with theatrical intensity. A potent opening track. The mood lightens considerably on the whimsical "But Where Am I", which features some of Phil's most humorous lyrics and delivery. What really amazes me about the song is that it's got a pop song sense of melody, yet there's non-stop action with a variety of soundtrack voice bits and Ralph injects a banquet of electronic fun into the mix throughout. Excellent music and a really fun song. And a perfect illustration of the band's potential to reach multiple audiences… progressive rockers, space and psych fans, and plenty more I'm sure.
"Dolphin Dreaming" is one of my personal favorites and one that will surely appeal to space rock fans. Ralph is a wiz at creating completely cosmic music that works perfectly within a song oriented context. And after several headphone listens to this song I know it could stand alone as an instrumental. But the vocals are key to this project and "Dolphin Dreaming" is surely one of the more spiritually uplifting songs of the set. Other highlights include "Blue is Beautiful", another standout track where Phil's vocal delivery takes front and center stage, but backed by equally creative musical arrangements. "Didgeridoo Medicine Man" is another lengthy track, and has some of the more down 'n dirty rocking moments on the album, as well as some of the more Eastern influenced chanting music, a hallmark of the original Quintessence. And just to keep things interesting, Phil, who is an accomplished didgeridoo player, uses the instrument to embellish the proceedings in ways you've probably not heard before. For something way off the beaten path give a listen to the spaced out cosmic rap on "Everthing is Weird". And for more lyrical fun and Phil taking jabs at the commercialism and superficial use of spiritualism just check out "New Age Breadhead" and "Hollywood Guru Show". Disc 2 features a set of 9 reworked Quintessence songs. Veterans fans of the band will be pleased to hear that these are no mere re-recordings. In many cases the duo have written new sections, and along with Ralph's personal musical stamp they are truly fresh interpretations of the songs. And there are numerous guests who help to flesh out the music, prominent among them being Maha Dev, the only other original Quintessence band member to participate in the album. Among my favorites of the Quintessence songs is "Cosmic Surfer", with its beautiful combination of spirituality and progressive rock. Part of the magic of the album as a whole is Phil and Ralph's ability to create accessible yet adventurous music. Psychedelic influenced progressive rock with a pop sensibility. The nearly 12 minute "Ganga Mai" is a real standout on disc 2, with Phil and his chorus of backing vocalists taking off into chanting jam realms while the synths, flutes and percussion make for an enchanting spaced out Eastern raga vibe. "Sun", one of the previously unrecorded Quintessence songs, is probably the track with the most potential to be released as a single. "Hail Mary" is the other Quintessence song finally seeing the recorded light of day and is a shining example of the Shiva penchant for spiritual themes. And I love the way the song incorporates elements of Indian pop music and adding spacey raga keyboards and light techno grooves. In summary, this is outstanding album with a fantastic combination of music and song, impeccable production and impressive crossover potential. The music is accessible and groove laden, yet the music fan who likes to be challenged will discover countless new treasures with each subsequent listen. Highly recommended. Review from amazon.co.uk

In 2003 Mystic Records released the debut CD by Shiva Shakti, a collaboration between Phil "Shiva" Jones, original vocalist for the band Quintessence, and Swiss synth wizard Ralph "Rudra" Beauvert. The CD was a mixture of original songs and reworkings of Quintessence songs. Though the band name has changed to make the Quintessence connection more overt, Cosmic Surfer is really the follow up to the first Shiva Shakti CD.

There may be an ocean between them but that has in no way hindered Phil and Ralph's ability to work together to create music, and indeed this latest effort is a 2 CD set. The first disc includes all original music while the second consists of new recordings by Phil and Ralph of Quintessence classics, including two songs originally written for Quintessence but never recorded.

To be sure, Phil struck gold in hooking up with Ralph, and he acknowledges as much in the liner notes. Ralph brings a love for the original Quintessence along with a taste and talent for varied styles of electronic music to the team, which makes for a superb combination with Phil's passionate, expressive vocals and witty, humorous and poignant lyrics. The result is a unique and wholly accessible sound that crosses multiple stylistic boundaries and defies simple classification.

Disc 1 opens with "Reptilian Corporate Sign Language", a 10 minute tune with cool grooves, stinging guitar licks and freaky alien synths that provide the musical pulse for Phil's lyrics attacking big business and its role in creating a mindless consumer culture. Obey… conform… breed… consume. And halfway through the music transitions to a segment where the mood darkens and Phil sings with theatrical intensity. A potent opening track. The mood lightens considerably on the whimsical "But Where Am I", which features some of Phil's most humorous lyrics and delivery. What really amazes me about the song is that it's got a pop song sense of melody, yet there's non-stop action with a variety of soundtrack voice bits and Ralph injects a banquet of electronic fun into the mix throughout. Excellent music and a really fun song. And a perfect illustration of the band's potential to reach multiple audiences… progressive rockers, space and psych fans, and plenty more I'm sure.

"Dolphin Dreaming" is one of my personal favorites and one that will surely appeal to space rock fans. Ralph is a wiz at creating completely cosmic music that works perfectly within a song oriented context. And after several headphone listens to this song I know it could stand alone as an instrumental. But the vocals are key to this project and "Dolphin Dreaming" is surely one of the more spiritually uplifting songs of the set. Other highlights include "Blue is Beautiful", another standout track where Phil's vocal delivery takes front and center stage, but backed by equally creative musical arrangements. "Didgeridoo Medicine Man" is another lengthy track, and has some of the more down 'n dirty rocking moments on the album, as well as some of the more Eastern influenced chanting music, a hallmark of the original Quintessence. And just to keep things interesting, Phil, who is an accomplished didgeridoo player, uses the instrument to embellish the proceedings in ways you've probably not heard before. For something way off the beaten path give a listen to the spaced out cosmic rap on "Everthing is Weird". And for more lyrical fun and Phil taking jabs at the commercialism and superficial use of spiritualism just check out "New Age Breadhead" and "Hollywood Guru Show".

Disc 2 features a set of 9 reworked Quintessence songs. Veterans fans of the band will be pleased to hear that these are no mere re-recordings. In many cases the duo have written new sections, and along with Ralph's personal musical stamp they are truly fresh interpretations of the songs. And there are numerous guests who help to flesh out the music, prominent among them being Maha Dev, the only other original Quintessence band member to participate in the album. Among my favorites of the Quintessence songs is "Cosmic Surfer", with its beautiful combination of spirituality and progressive rock. Part of the magic of the album as a whole is Phil and Ralph's ability to create accessible yet adventurous music. Psychedelic influenced progressive rock with a pop sensibility. The nearly 12 minute "Ganga Mai" is a real standout on disc 2, with Phil and his chorus of backing vocalists taking off into chanting jam realms while the synths, flutes and percussion make for an enchanting spaced out Eastern raga vibe. "Sun", one of the previously unrecorded Quintessence songs, is probably the track with the most potential to be released as a single. "Hail Mary" is the other Quintessence song finally seeing the recorded light of day and is a shining example of the Shiva penchant for spiritual themes. And I love the way the song incorporates elements of Indian pop music and adding spacey raga keyboards and light techno grooves.

In summary, this is an outstanding album with a fantastic combination of music and song, impeccable production and impressive crossover potential. The music is accessible and groove laden, yet the music fan who likes to be challenged will discover countless new treasures with each subsequent listen. Highly recommended.Review from Aural Innovations

Bram Stoker - Cold Reading (2013)

Imagine listening to a new album released by a band steeped in the traditions of the seminal sounds of progressive rock. Now imagine that band actually was playing and recording back in 1969 – 72. Well, you don't have to close your eyes to dream about any of this anymore. But absolutely do not forget your headphones for this fantastic voyage and experience.

Bram Stoker has been around since the late 1960s and early '70s. Bram Stoker was making music at the same time as the seminal leaders of the progressive rock genre like Genesis, Yes, Pink Floyd, and ELP. The band was formed by keyboard player Tony Bronsdon in 1969. Bram Stoker played shows at the famous Marquee Club in London, where they were actually supported by one of the genre's lasting symphonic prog rock bands Queen. They regularly were featured in London's hotspots like the Roundhouse, The Marquee, The Greyhound – Croydon and The Speakeasy.

Bram Stoker has returned to deliver their first new CD since 1972. Cold Reading. It will be released on the 27th of January, 2014. Their first release was the classic 1972 album Heavy Rock Spectacular released on Windmill Records.

The new line-up features: Tony Bronsdon, on keyboards; Tony Lowe, on guitar and bass; and Will Hack, on drums and vocals. Jon Bavin, also an original member of the band, collaborated on writing two of the new compositions.

"Climbing the Gyroscope", an excellent song title, opens with those deep, dark Hammond keys and fathoms of bass. It puts you right back in the mood for some Foxtrot or Nursery Cryme, for sure. The fast moving keys, dripping bass, and Hackett sounding lead electric guitar will take you right back to classic Genesis. Just what the doctor ordered for a music scene that needs some inspiration from the past. Just sit back and listen to Bronsdon take you through Wakeman, Emerson and Banks with a wave of his hand. This is going to be one magical ride for any fan of the music of early prog.

"Cold Reading" has a more updated sound. Like Collins Era Genesis. This track would have fit well on Trick of the Tail or even Wind and Wuthering, except that the keyboards and that Hackett guitar take you back further in time. Will Hack's vocals are a good mix between Steve Hackett's and Phil Collins'. But those keys will register immediately. The keyboard sound at around 3:14 almost made me sing the words from the song "Scenes from a Night's Dream" from ...And Then There Were Three…

"Fast Decay" reminds me of some of the keyboard sounds from both ELP's Emerson and also the Italian band The Watch, who often covers Genesis classics. This keyboard romp will absolutely help solidify this band as a keeper for your "watch list". Innovative keyboard instrumentals the way you remember them, from all of the greats mentioned above. Nothing's missing…except maybe vocals.

"Calling Me Home" brings back more memories from that early Collins Era of Genesis. Trick or Wind melodies and sounds are prevalent reminders here. The heavy guitar and thick bass are excellent. But those keyboards just rattle the walls on this one. You will swear Hackett's playing those solos.

"Chasing Red" is the longest track on the album, so anyone who knows me knows I had to hear it first. Hack's vocals sing, "Alone I have to roam. Why make me hide away? Oh, no, no.". Those introspective lyrics you remember from the '70s. yes. But this time set to a very modern and cool keyboard melody supported perfectly with deep bass, and those brilliant lead electric guitar soars. Later Hack sings, "I will never be far away from here if lost is like a river…Flowing through us all. A raging waterfall". Yah, powerful lyrics you remember from the past. It all comes roaring back. Sit back and enjoy that powerful keyboard, strings, bass, drums, and lead guitar instrumental. "Live your life, just carry on, you will be fine". Amen.

"Joust" opens with brilliant regal revelry from the keyboards. The joust is between the Hackett sounding lead electric guitar and those Banks keyboards. Who will win? You the listener of course. Magic for your ears. Enjoy.

Everyone wants a "New Adventure", and this album has already delivered that experience and more. But this track almost takes you up to the sound of last Genesis album, Calling All Stations sound. Modern sounding melodies which still possess the golden keys of the past. "Follow me"…indeed.

They just had to have a song for my favorite season. And they do…"Like Autumn Now". It takes you back to hearing "Follow You, Follow Me" for the first time again. Yes, the melody is completely different but the feeling and sensations from that magical time of the year is all over the performance. Piano dominates this one with waves of Hackett level guitar soaring above deep bass and soft drums. "Send me round. To the place where I am found. Enriched by the darkness. I'll guide you through", set to dancing piano and deep Hackettesque guitar.

If you are from the early Genesis generation you knew they had to have a deep storyline in at least one of their songs. "Fingal's Cave" is that instrumental experience. Google the title and you will find that it is a sea cave on the uninhabited island of Staffa, in the Inner Hebrides of Scotland. You will also find that the title involves the story of the eponymous hero of an epic poem by 18th-century Scots poet-historian historian James Macpherson. Unfortunately there is no lyrical adventure in this instrumental, but do not be dismayed. This over six minute keyboard and electric guitar extravaganza will tell enough of the story on its own, complete with deep Hammond, bass and galloping drums.

"Light at the End of the Tunnel" is the closer full of deep Hammond and synth keyboards set to amaze. At nearly six minutes it is a fitting closer to one of the best albums of the year. Sit back and let this keyboard extravaganza flow through your ears.

Wow! One of my favorite albums of the year already. Wish I hadn't missed them in the 1970s. Well, as I always say, it's not when you find a band, it's that you do find them and appreciate them when found. This album must be experienced to be fully appreciated. I have attempted to capture the spirit, but only hearing it yourself will truly register the dynamic power of this album. Not like The Watch, but also providing the sound and music like they do, that we as Genesis fans truly miss.

Great to find this band. They are definitely on my "watch list" now. Get this album and I guarantee they will also be on yours.Review from seaoftranquility

Track Listing:

1. Climbing the Gyroscope
2. Cold Reading
3. Fast Decay
4. Calling Me Home
5. Chasing Red
6. Joust
7. New Adventure
8. Like Autumn Now
9. Fingal's Cave
10. Light at the End of the Tunnel

Area - Arbeit Macht FreI (1973)

One of the most talented and creative bands not only in the 70's italian progressive scene but in the prog rock history as well.Area deliver an excellent jazz rock album in their debut with some KING CRIMSON-like passages (just listen to the intro of ''Arbeit macht frei''),ethnic influences (the whole first track influenced by the arabian culture) and also some MAGMA-like sections (listen to the last track of the album).But it's not only the excellent musicianship that stands out,it's also the unique voice of Demetrio Stratos,one of the most obscure,powerful and weird voices I've ever heard.Stratos is the main figure of the band undoubtfully,I don't know if Area would have such a fame in the prog circles if Stratos weren't in the band...An album full of inspired vocal and music improvisations...5 stars and even more for jazz,RIO and Zeuhl lovers,

Songs / Tracks Listing

1. Luglio, Agosto, Settembre (Nero) (4:27) 

2. Arbeit Macht Frei (7:56) 

3. Consapevolezza (6:06) 

4. Le Labbra Del Tempo (6:00) 

5. 240 Chilometri Da Smirne (5:10) 

6. L'Abbattimento Dello Zeppelin (6:45)

Total Time: 36:24

Line-up / Musicians

- Demetrio Stratos / vocals, organ, still drums

- Patrick Djivas / bass 

- Patrizio Fariselli / pianos 

- Gianpaolo Tofani / guitars, VCS-3

- Giulio Capiozzo / drums, percussion

- Victor Edouard ('Eddie') Busnello / sax, bass clarinet, flutes

Oresund Space Collective - Dead Man In Space ( 2010 )

Actually, these are nine live men on earth jamming, improvising and creating a trip to several places. What I love from Oresund Space Collective's music is how it introduces us into other worlds, one new song is one new world, and each and every of them has its own passages, its own lands in which we will imagine, discover, trip. I believe when music can produce these things on the listeners, then it simply succeeds, and that has happened with me.

This collective released in 2010 an album entitled "Dead Man in Space" which consists of four songs that make a total time of 63 minutes. As usual, they bomb us with some long jams that let us expand our minds and experience spacey trips. The best example is the first track which is a long 32-minute length song full of synthesizers, guitars and spacey nuances and atmospheres. Here, though we will find several minor changes, we will not find moments where the music dramatically falls or becomes anything new, no, here they create a very cool long jam that perfectly flows and does not bores at all.

In spite its long duration, one can easily listen to it without feeling the need of skipping it after some minutes, because it little by little traps you until you become part of it and cannot escape until the very end. There are always drums accompanying the prominent synthesizers, while the bass creates a sometimes soft, sometimes faster mood that is perfectly complemented by the almost non-stop guitar work. There are of course moments more interesting than others, but in general, this ambitious 32-minute song left me satisfied. In fact, I would honestly had enough with this long theme and another shorter one.

"Who tripped on the C(h)ord" is a ten-minute song with a more relaxed mood, perfect for the night or a tired day. The music once again flows without a problem, creating nice atmospheres, soft passages in which the listener can be doing any work needed, I mean, you can lie on your bed and rest, you can be working, doing homework, reading, etc. and the music will not harm you at all, on the other hand, it is your friend and works as a partner, it may be a positive distracter.

A new element is added in "Space Jam 2.2." where since the first seconds we can listen to a delicious rhythmic saxophone. Seemed that it would only appear in the introductory moments of the song, however it actually has a main role here, accompanying the "basic" instruments during the whole jam. Here we can also listen to an addictive and more participative bass, while as usual, the drums, synths and guitars create landscapes, spacey effects and a diversity of textures. A thing that makes this song different, is that here we can clearly appreciate different passages, some faster and more emotional than others, where the progression is evident, putting dynamism to the track, offering a quite interesting creation.

The last song truly contrasts with the previous, because it is only a three-minute improvisation that works as a closer, nothing more. Well, as you noticed I am like this album, which stands in the top (maybe second) of my OSC preferences. My final grade will be four stars.

Enjoy it! Review from Progarchives.com

Songs/Tracks

1. High Pilots (21:54)

2. Space Jazz Jam 2.2 (17:35)

3. Dead Man in Space (4:00)

Total Time: 42:29

CD release:

1. High Pilots (32::30)

2. Space Jazz Jam 2.2 (17:35)

3. Who Tripped On The C(h)ord? (10:35)

4. Dead Man In Space (3:02)

Total Time: 63:42

Line-up / Musicians

- Stefan / guitar

- Kaufmann / drums, percussion

- Dr. Space / synthesizer

- Thomas / bass (1)

- Jocke / guitar (1)

- Magnus / guitar, synthesizer (1)

- Pär / bass (2,3)

- Mogens / Hammond, synthesizer (2,3)

- Anders / saxophone, effects

Virus - Revelation ( 1970)

In the early 90's race to release rare German from the early 70's, three labels raged on: Repertoire (with their big means, they managed most of Phillips and subsidiary Vertigo and much more outside the country), Ohrwaschl (who released the legendary Ohr label as well as the other legendary label Kuckuck) and Second Battle, who always seemed to get the second choice material (getting stuck with Light Of Darkness, King Ping Meh and Gift. Lately of course, Garden Of Delights have been taking most of the cake, serving us a bunch of goodies (a few less ripe though), but when comparing labels specializing into German re-issues, Second Battle always seems to get the lesser ones.

This quintet recorded just two albums, this debut by excellent producer Konrad Plank in Munich - where so much of Germany's "spacier" rock was being recorded. You might want to think of a cross of Floyd (for the heavy freak-out bouts) with some early 70's UK heavy progressive between Purple (Jon Lord for the organs) and early Sabbath (Geezer Butler on bass), or Raw Material.

The lenghty opener is a good 12-min+ improvisation based on the Stones' Paint It Black (a fave of mine and of many progheads as this was one of their most covered tracks), but this is maybe one of the best homage ever done to the track (along with metalheads Anvil and fellow early proggers Jody Grind). Endless Game (also above the 12-min mark) starts very slowly with great organs underlined by a superb and delicate guitar, being replaced gradually by a flute and bass riffs and then heavy freaking passages not far away from Floyd (around atom Heart Mother), simply great if not completely original, though!! Burning Candle is however a much shorter and harder track and can be thought of Alvin Lee jamming with Ten Years After. The 10-min+ Hungry Looser is again sensibly harder rocking, until the song breaks into a bluesy piano, and it could be the low point in the album, but hardly worth pushing the SKIP button on your remote control. The album closes on a 7-min+ psych deliria bringing you gladly back to the first few tracks. This heavyly Floyd-influenced track is simply awesome and much recommended if you are about to spark a Jamaican cigar.

They will then move to the ultra small (and now very collectible) label Pilz, but their second album (with only two original remaining members) will be a far cry from the great haunting atmosphere dominating this one. But with Virus, they struck a pretty good one, with this heavy psychedelic group specializing in lenghty space rock tracks (sometimes approaching Floyd at its spaciest) and dreamy voyage around our atmosphere. Yes, it was about time that Second Battle actually got the better release, leaving Ohrwaschl the worse one. Yes it was about time Second Battle actually released a superb album inn their re-issue series. Hardly groundbreaking but quite enjoyable. Review from Progarchives.com

Songs / Tracks Listing

1. Revelation (12:14)

2. Endless Game (12:17) 

3. Burning Candle (5:27) 

4. Hungry Loser (10:30) 

5. Nur noch zwei Lichtjahre (7:50) 

6. Confusion (Bonustrack CD-Reissue) (3:18) 

7. Facts Of Death (Bonustrack CD-Reissue) (3:38) 

Total Time: 55:14

Line-up / Musicians

- Reinhold Spiegelfeld / bass 

- Bernd Hohman / flute, vocals 

- Jörg-Dieter Krahe / keybpards 

- Wolfgang Rieke / drums 

- Werner Monka / rhythm guitar

Siilk - Way To Lhassa (2013)

Fans of the classic french band PULSAR should in the main enjoy this album, as there are  many of the original members and the music retains much of their earlier style, albeit in a more modern setting with strong PINK FLOYD elements in particular. 

I can see though that for many this is just going to be too diverse and i don't think the choirs on some of the tracks worked well...... one track though ( Midlife Crisis ) sounds like a cross between Mark Knopfler/Dire Straits and Jade Warrior? Excellent! More like this please!

An enjoyable album in all but certainly as a whole does not have the flow or consistency of many of Pulsars earlier works. A nice blend though of  music and poetry with lots of world elements too which works particularly well on the track 'Way To Lhassa'

Tracklist

 1. Childhood's Memories 5:51
2. Between 6:43
3. Cathy's Wood 4:56
4. In the Grey Chapel 1:17
5. Leaving North 5:25
6. Midlife Crisis 4:33
7. Khajuraho Dreams 3:41
8. Way to Lhassa 6:37
9. Witness 4:13
10. Wladyslaw's Marching Band 4:03

Line-up

Richard Pick – lead vocal, acoustic guitar, tampoura
Gilbert Gandil (Pulsar) – electric and acoustic guitars, dobro, additional keyboards, lap steel
Jacques Roman (Pulsar) – pianos, synthesizers and mellotron
Guillaume Antonicelli – bass guitar
Attilio Terlizzi – drums, gongs
With
Jean-Nicolas Susse – additional keyboards, backing vocals, horn, Indian harmonium
Catherine Pick - vocals
Paul Grant – Indian santur
Gabrielle Vargiu - tranverse flute
Hagop Boyadjian – Armenian duduk
Adrien Bernard – choir direction on track 4, guitar, keyboards, violin, vocals and lyrics on track 10
Axelle Ciofolo de Peretti – bass clarinet
Bertrand Plé - brass quartet direction on track 10
Pierre Bassery - trombone
Nicolas Salmon - tuba
Christophe Coronas – trumpet

Oresund Space Collective - Inside Your Head (2008)

I think if you liked their previous album "The Back Tomato" then you should like this one. The music here was actually taken from "The Black Tomato" sessions, as they had around 150 minutes of music left over. So once again lots of guitars and synths, and the bass and drums are also very prominant.

"Substantia Nigra" opens with bass, drums and guitar that build including frog-like sounds (synths). A full sound after 3 minutes. A very repetitive track. "Optic Chiasm" opens with funny sounds with synths. Guitar and bass follow. Organ before 6 1/2 minutes. The guitar is great after 13 minutes, just lighting it up. "Fornix" opens with a beat and synths. It kicks into a groove after a minute. Nice chunky bass on this one. The guitar starts to grind away too. Then it turns sort of trippy with drums, deep bass liines and synths.

"Aqueduct Of Sylvius" features synths that twitter as guitar joins in. Bass is next. Drums after 2 minutes. The guitar gets fairly aggressive. Intense later on. "Vermis" opens with spacey synths. Guitar 2 minutes in. A steady beat after 6 minutes as the guitar solos. Keyboards after 11 minutes and some great sounding bass after 13 minutes.

Keep in mind that we have up to four guys playing synths and three playing guitars, so we get a nice full sound on this album for the most part. Not as good as "The Black Tomato" so a low 4 star rating it is. Review from Progarchives.com

Songs / Tracks Listing

1. Substantia Nigra (10:23)

2. Optic Chiasm (16:36)

3. Fornix (12:53)

4. Aqueduct Of Sylvius (9:56)

5. Vermis (20:47)

Total Time: 70:35

Line-up / Musicians

- Tobias / guitar, effects

- Sebastian / guitar, effects

- Magnus / guitar, effects, synthesizer

- Dr. Space / synthesizers

- Mogens / synthesizers

- Ola / Fender Rhodes, synthesizers

- Jocke / bass

- Michael / bass (5)

- Søren / drums

Anima MUndi - The Way (2010)

It is not common to see (hear) a progressive rock band from Cuba, but when I first listened to Anima Mundi, I really love their music and say "wow", since then, I've been following their efforts. First it was "Septentrion", a promising debut album with symphonic and folk tendencies, also the only one with Spanish vocals; then it was "Jagganath Orbit" where they expressed their skill at their highest level; and now is the turn of "The Way".

When I knew they would release a new album I was really excited because I love their music, and now, after several listens, I can say I am pleased, they did not let me down. This 2010 they gave light to this ambitious album called "The Way" which features four compositions, and a total time of 58 minutes, so as you can imagine you will find long songs here.

It opens with "Time to Understand", a fourteen-minute track where you can easily appreciate their symphonic tendencies, and where you will listen to first-class progressive rock. Throughout those fourteen minutes they offer a salad of sounds, a mixture of rhythms and moods and a great musical execution, it is evident that we are listening to trained and talented musicians.

In a symphonic prog band, I normally feel attracted by the sound of keyboards, and this time is not the exception, so pay attention to Virginia Pedraza's work, it is awesome. Returning to the song, when it reaches the eight or ninth minute it slows down, it makes great changes in mood and rhythm, a delicate guitar appears. But then the music begin to increase again until the final minute where it fades out.

"Spring Knocks on the Door of Men" is a giant composition that reaches twenty-six minutes, so you better sit comfortable and listen to this wonderful track. The first part covers the first four minutes, where you'll listen to soft and charming instrumental music, then it makes a little stop, delicate guitars and vocal appear and give it a new direction. The rhytm is semi-slow but it easily catches your attention, it keeps like this until minute eight where a new musical passage begins. Again, instrumental music with great keyboard work and also wonderful guitars; it is important to say, that despite I may feel more attracted by guitars and keys, all the instruments are equally important here, so open your ears and appreciate also bass and drums, because they are great.

At minute ten, there is a beautiful passage where you can close your eyes and let the music take you to another realm, I imagine myself in a beautiful place where peace reigns, with fields of green and pure air, just figure it out. There is a fantastic change after minute fifteen, the song explodes and becomes stronger and at the same time creates a new atmosphere, I also can imagine this part as if it was part of a film, in a scene where a new situation is taking place.

What a song this length can offer speaks for itself, there are a lot of sounds, emotions, textures, colors, images and several elements that help the music succeed and left a mark on the listener, as this band has left with me. After minute twenty there is another beautiful passage where a delicate flute appears accompanied by acoustic guitar and a nice keyboard atmosphere. Seconds later vocals return and add its special flavor. The final part of this is just the conclusion of a great effort, an ambitious track that reached his goal, at least with me.

Now the other two tracks are the shorter ones, despite they can also be considered as long ones. "Flying to the Sun" offers nine minutes of cool symphonic prog music. It starts with a mellotron sound which always produces me goosebumps, then vocals enter and a bombastic rhythm appears. A couple of minutes later nice bass lines mark the pass of a new passage where some choral keyboard appears and an excellent guitar work by Roberto Díaz highlights the track. Before minute six there is another change, actually in the mood because of the keyboards one can imagine some kind of terror scene, so there is a sense of tension and nervousness. The music itself is conducting you to several ways, you are exploring and knowing them, until you find your way: The Way.

And finally the shortest track, "Cosmic Man" which I have to admit is my least favorite on this album, which does not mean it is a bad track, not at all, not even weak, but in moments (the first minutes) I felt it repetitive. However later, more specific in the instrumental parts I felt caught again and my interest increased again. The last couple of minutes produce that sensation of an end, the music little by little is vanishing and saying goodbye.

Anima Mundi from Cuba is a band worth listening that I highly recommend. So far their three albums have caused several things on me and I fully enjoy them. Now, I am looking forward to their next effort, and I keep my fingers crossed in order to see them on stage, maybe soon, I don't know. My final grade will be four strong stars, it would be more accurate if I could add half star so it would be a 4.5 star record.

Enjoy it! Review from Progarchives.com.

Songs / Tracks Listing

1.Time to Understand 13:59

2. Spring Knocks on the Door of Men 26:32

3. Flying to the Sun 9:33

4. Cosmic Man 8:18

Line-up / Musicians

Virginia Peraza / Keyboards

Roberto Díaz / Lead Guitar & Vocals

Yaroski Corredera / Bass Guitar

Manuel Govin / Drums

Carlos Sosa / Vocals

Listen or download Anima Mundi Time to Understand for free on Pleer

The Future Kings Of England - The Viewing Point ( 2009 )

This is THE FUTURE KINGS OF ENGLAND's third studio recording. It's an all-instrumental concept album about this man who drives out to this place (the viewing point) with his car and looks out over the water and thinks. It's a place he used to go to with his family but now he's alone. There's something about looking out over the water that's been there for thousands of years that brings some sort of stability and comfort to a life that can often be far from it. I live near a beach that's on a bay that goes as far as the eye can see. And while I haven't really done any thinking alone in my car like we have in this concept, I love being on the beach walking or running. It's my favourite place. I have to give this band a ton of credit not only for their musicianship but for the fact that all three albums have been different from one another, and they're all amazing. A very talented group of guys.

"Go..." opens with the sound of a car driving up before the guitar and beat take over.This is psychedelic and laid back. A fuller sound after 2 minutes before it settles into this FLOYD- like beat after 2 1/2 minutes. Organ joins in too. Mellotron around 5 minutes. I love the guitar, this is so uplifting. A powerful sound 6 minutes in. Amazing tune. "Sea Saw" does not sound like THE FUTURE KINGS OF ENGLAND at all. It opens with this drum led rhythm before it turns heavy a minute in. A calm follows. Mellotron 2 minutes in with piano. The sound starts to build with theremin. Great sound 4 1/2 minutes in as it changes again with guitar and drums leading the way. "The Cool Hard Truth" is a short but gorgeous sounding tune. It kicks in around a minute then settles to that earlier sound.

"Time Flies Like An Arrow" is spacey and psychedelic to start with a slow beat and mellotron. Guitar comes in. The tempo picks up after 3 minutes with bass, drums and organ leading. A calm before 9 minutes then it kicks in heavier than before. Mellotron follows as it settles to a lighter but more emotional section. Incredible track. "Rain Later, Good" opens with the sound of this man listening to the radio in his car. Strummed guitar and beat with vocal melodies follows. Sounds like flute late. "The Viewing Point" opens with spacey sounds as a beat and bass join in. A change 3 1/2 minutes in as the music fades and sound samples arrive of him in the car. A new soundscape comes in around 5 minutes. It kicks in after 6 minutes then settles quickly. These contrasts continue.

I still feel their debut is the best by far followed by the second one. This album is still a solid 4 star album but lacks the heaviness I like from their earlier albums. I do like how psychedelic it is though. "Sea Saw", "Rain Later, Good" and the title track haven't grown on me like the other songs, but the other tracks are just killer.

Songs / Tracks Listing

1. Go... (7:36)

2. Sea Saw (7:17)

2. The Cold Hard Truth (1:37)

2. Time Flies Like An Arrow (13:16)

2. Rain Later, Good (2:48)

2. The Viewing Point (12:19)

Total Time: 44:08

Line-up / Musicians

- Ian Fitch / guitars

- Simon Green / drums

- Karl Mallet / bass

- Steve Mann / keyboards

Øresund Space Collective - Give Your Brain a Rest From The Matrix (2012)

Really excellent long spaced out jams which take us the listener on quite a journey. The song "Give Your Brain a Rest..... is particularly effective with the indian styled electric sitar phrases and psychedelic rock jamming. Occasionally a tad too long here and there, but never boring, as this is ever evolving and i guess mostly improvised. Highly recommended as they say!

Songs / Tracks Listing

1. Give Your Brain A Rest From The Matrix (24:29)

2. Mainstream Is The New Acid (14:00)

3. Step Into The Other World (8:56)

4. Cerebral Massage (27:27)

Total Time: 74:52

Line-up / Musicians

- PIB / drums

- Nick / bass

- Claus / guitar

- Mogens / synth

- Dr. Space / synth

- Johan / guitar

- Mathias / pedal steel, guitar 

- KG / sitar, guitar, synth

Nexus - Perpetuum Karma (2007)

Since I first heard "Perpetuum Karma," I have been trying to wrap my head around a review for it. It has wowed me on many levels, but how to explain it? As we often say in Buddhism, words fall short. But, I will make an attempt anyway.

To me it is a prime example of a talented prog band staying true to the classics, without sounding too derivative. It's not all old school, they have incorporated many modern elements as well. However, if you are looking something that screams Argentina, this isn't it. If the lyrics weren't sung in Spanish, you would think Nexus comes from Europe, or North America.

"Mirar hacia el centro" lulls you into a false sense of security by beginning with some birdcalls. When the guitar starts, you know you are in for a ride. And a ride is what you get. This is modern prog epic territory (they even dabble in a bit of Spock's Beard's realm). It is grand, sweeping, changes up, and has a bit of an overall menacing feel. This is great stuff, and a perfect choice for an album opener.

Where most bands would let you off the hook after such a beginning, these guys get right back to it on the title track. This one is clearly in E.L.P. mode. However, they do play around a bit. One section gets a little jazzy, and I'd swear the guitar part is right out of the Jeff Beck playbook. This is another big epic, and another big success.

We finally get some relief with "Del Abismo al Sol." This is a cool, mellow number (not exactly short though). More jazz influence, and more Jeff Beck style guitar. It's a perfect palate cleanser.

The rest of the album holds the same promise and quality. It would take too much time, and space to go into detail on it all. This also indicates one of the drawbacks to "Perpetuum Karma." It is very long, and does get a little repetitive. I say so what. I never turn it off, nor do I get bored with it.

This is modern prog at its best. It may not have the most original sound, but it is darn good music. Impassioned playing, complex structures, grandiose themes, blistering guitars, masterful keyboards, nuance, everything a true proghead loves. If this sounds like your kind of thing, do yourself a favor and get this album. Review from Progarchives.com

Songs / Tracks Listing

1. Mirar hacia el centro (17:28)

2. Perpetuum Karma (14:56)

3. Del abismo al sol (9:50)

4. Travesía (9:12)

5. Cruces y Sombras (14:00)

6. En ese viento (6:44)

Total Time 72:28

Line-up / Musicians

- Luis Nakamura / drums & percussion

- Carlos Lucena / electric & acoustic guitars, vocals

- Daniel Ianniruberto / bass guitars

- Lalo Huber / Hammond organ, church organ, mellotron, pianos and synthesizers, backing vocals

- Lito Marcello / vocals

Nexus - Buenos Aries Free Experience (2007)

Wow! Nexus really rocks in this album!!! Buenos Aires Free Experience 2 is a special edition by the label Record Runner (an excelent idea!!!). And Nexus sounds really free here. The music is a journey trough hard rock, symphonic, prog, experimental, jazz, blues, avant garde, rock, rock, and more rock, and the result is fantastic! Nexus is a band (the only one???) that mantain a high level in their music, popularity and critics, by almost 10 years. This album is a great surprise. The musicians plays without limits, remembering your roots and flying to new horizons. The best american symphonic prog group, now is a great rock band too! Believe me. According to the listened trough these years..I can't wait for the next Nexus studio album... and the next, and the next... Five stars minimum. Get the album. Highly recommended. Review from progarchives.com.

Another fantastic album by Nexus which is much more free and looser structured than there other releases,which makes for a more spontanious music brim full of prog rock jamming which really shines here.

Songs / Tracks Listing

1. Plaga (17:51)

2. El Reves Del Espejo (5:34)

3. Servicio De Lounge (14:39)

4. No Pizza (14:25)

5. Dame Un "La" (0:55)

6. Danza Mental (18:12)

Total Time: 71:46

Line-up / Musicians

- Lalo Huber / keyboards

- Carlos Lucena / guitars

- Daniel Ianniruberto / bass

- Luis Nakamura / drums & percussion

Nexus - Magna Fabulis (2012)

Latest offering from this fabulous Argentinian progressive rock band is really a sampler from different time periods 2005 - 2010

 The first lengthy track Odisea sums up all that is fantastic about this band and is probably my favourite of theirs which blends perfectly thematic and progressive complexities into a dazzling display of aural bliss. This is quite an extraordinary piece with exemplary musicianship throughout, the guitar and keyboard/ bass work is just phenomenal.

All the other tracks are fine too in there own way. I detect a little Eloy maybe especially in El Plan Continua. For some really fine guitar work check out the song El Segundo Reino which is one of the most full on sounding tracks ones likely to hear. A touch Pink floyd?

 VERY VERY Highly recomended.

Nexus - Metanoia (2001)

The album "Metanoia" (2001) from the Argentine progrok formation NEXUS is one of the best progrock releases of the last five years! It's more mature and balanced than the debut CD "Detras del umbral". The sound on "Metanoia" is impressive with very lush and bombastic keyboards (with echoes from ELP and the Japanese progrock) and due to the more dominant guitarplay the sound of NEXUS often evokes IQ (the albums "Ever" and "Dark matter") but also early HACKETT solo and of course mid-GENESIS. The 24-carat symphonic rock compositions are compelling with lots of captivating changes of climate and splendid solos on keyboard (organ and synthesizers) and guitar. The powerful female Spanish vocals fit perfect to all atmospheres, what a great voice. In my opinion this album offers all the elements that makes symphonic rock so worth listening! Meanwhile vocalist Maria Gonzalez has left the band and early 2005 NEXUS will release their next album. Keyboardplayer Lalo Huber told me that it will contain a lot of Hammond, Mellotron and 'vintage synthesizers' and guest male singers. In my opinion that CD will go for the full five star award! Review from progarchives.com

Songs / Tracks Listing

1. Eterna Recurrencia Uno (1:21)

2. Grito Primal (Metanoia Nivel 0) (1:41)

3. Metambo (5:43)

4. Planeta Herido (3:02)

5. Despertar Dentro De Un Sueño (Metanoia Nivel 1) (9:23)

I.Paranoia

II. Dentro De Un Sueño

III. El Demonio Interior

6. Hacia La Luz (5:04)

7. Metanoia (Metanoia Nivel 2) (7:47)

8. La Tentación Del Mundo (7:27)

9. En Las Manos De Dios (15:45)

I. Desesperación

II. Resignación

III. La Plegaria

IV. La Transmutación

V. Las Manos De Dios

10. El Mensaje (0:31)

11. El Nexo Universal (5:13)

12. Tan Cerca Del Fuego (Metanoia Nivel 3) (7:17)

I. La Vorágine

II. Ver El Infinito

III. La Revelacion

13. Eterna Recurrencia Cero (3:07)

Total Time: 72:28 

Line-up / Musicians

- Mariela Gonzalez / vocals

- Lalo Huber / keyboards and backing vocals

- Carlos Lucena / guitars and backing vocals

- Luis Nakamura / drums and percussion

- Daniel Ianniruberto / bass, keyboards and backing vocals

Nexus - DETRÁS DEL UMBRAL (1999)

Excellent debut by one of the most important representants of sy,phonic prog music in south america. The group shows they were more than ready to record when they released this album in 1999. And although Metanoia was the CD to really gave them a wider exposure, Detras Del Umbral was nothing shorter in terms of composition and perfomance. Ok, the production may not as perfect as on Metanoia, but it is good enough here. In fact, in many aspects I like this CD more than its follow up.

The source fo their inspiration is clearly the 70´s symphonic bands, or, to be more specific, Emerson, Lake & palmer. The keyboards scream Keith Emerson all over the CD, except on the second part, where you can also hear some Tony Banks and Rick Wakeman influences. Mariela Gonzales is surely a charismatic and strong singer, but her voice is not everybody´s cup of tea. And the impression given is that the band is much more an instrumental group than anything else (the vocals are a bit underused), which may explains her leaving after their second efford.

On the other hand you have over 70 minutes of very good symphonic prog music. Carlos Lucena´s guitar licks and solos are less proeminent here than on other Nexus works, but still he shows his great skill and tastefullness when he appears. The rhythm section of Daniel Ianniruberto (bass) and Luix Nakamura (drums) is very precise and creative. One of my favorite songs is the powerful Tiempo Sin Razon, which is followed by the fine slower instrumental Utopia, and then it sequels into another short instrumental that reminds me of the greman group Triunvirat). Not a single filler in the whole album which I always hear with the same pleasure from start to finish. Detras Del Umbral seems to be a long suite with several parts and variations, but as a whole I think it is a highly successful debut. They already sounded like a seasoned band.

If you enjoy keyboards driven symphonic music of the 70´s, especially influenced by giants like Keith Emerson and Rick Wakeman, you should not miss this one. 4 stars, no less! Congratulations, hermanos! Review from progarchives.com

Songs / Tracks Listing

1. El Despertar (2:23) 

2. Condenados (8:06) 

3. Mas Alla Del Limite (3:27) 

4. Tiempo Sin Razon (6:09) 

5. Utopia (2:24) 

6. La Espiral (2:48) 

7. Signos En El Cielo (10:52) 

8. Sueno Infinito (4:51) 

9. Detras Del Umbral (9:17) 

10. La Procesion Int?rior (3:37) 

11. Eterno Y Fugaz (10:22) 

12. La Batalla (4:17) 

13. El Ultimo Ritual (4:51)

Total Time: 71:24

Line-up / Musicians

- Mariela Gonzalez / vocals

- Lalo Huber / keyboards

- Carlos Lucena / guitars

- Daniel Ianniruberto / bass

- Luis Nakamura / drums

Play Now On Rdio

Øresund Space Collective - Phaze Your Fears (2012)

One is defintely reminded here of some of the improvised jams that the band 'Man' or 'Porcupine Tree'  used to do with lots of guitars, except OSP are much more psychedelic and out there, which they certainly are on these two lengthy excursions , which also feature lots of swirling synths. Track 1 is the most psychedeic rock driven and powerfull piece, whereas track 2 is much more spaced out with lots of effects and a few vocal treatments.

If your a fan of space rock, say amon duul 11 , Grobbschnitt etc and the aforementioned band then i guess , l ike me, you will love this. Excellent stuff indeed. 

Songs / Tracks Listing

1. Phaze Your Fears (20:24)

2. Ear Meat (24:28)

Total Time: 44:52

Line-up / Musicians

- Stefan / guitar

- Kaufmann / drums

- Nick / guitar

- Jiri / bass

- Claus / guitar

- Mogens / synths

- Dr. Space / synths

- Johan / guitar

- Mathias / pedal steel, guitar

Entheogenic - Flight Of The Urubus (2008)

Entheogenic, like all musicians who start a genre, hit a stage in their career when they had to reassess their own work to date. As a genre, psybient has moved ahead since the time Shpongle and Entheogenic created it half a decade ago. New age producers like Bluetech and Phutureprimitive are creating more compact tracks, moving to a midtempo sound that is crisper, funkier, or more flamboyant. Their first two albums, Entheogenic and Spontaneous Illumination, were critically well received. Their last album, Golden Cap, was heavily criticized, and there was widespread agreement that Entheogenic had lost their touch. Flight of the Urubus silences all criticism that Entheogenic have fallen from the top of the genre. The duo forges a new musical relationship that resulted from world traveling prior to recording this album. This is a highly polished downtempo psychedelic offering, and the amount of time and care spent on the album shows brilliantly. "Trara" is an album highlight here, with the duo proclaiming its mastery over the more upbeat end of the downtempo genre, lacing powerful melodies with a "phat" sound over an interesting midtempo bassline. Entheogenic have showcased all elements from their years of being in the trade, and have asserted their preeminent position in the psybient genre. ~ Bhasker Gupta Review fron rdio.com

Magma - Felicite Thosz (2012)

On this (hopely till know) not too much anticipated 2012 release of one of the most original and progressive bands of progressive rock history we get to hear a different side of Christian Vander's composition skills. In stead of creating a dark operatic en technical album, Magma returns with an angelic celebration of life. For some this might sound risky, but we've also seen Magma showing it's feel-good adventerious moods on K.A. and it worked out fine. The 'Felicite Thosz' suite should be regarded as being a single 28 minute lasting composition, but is devided in small pieces on the cd. With a total of 32 minutes of running time this 'album' could almost be regarded as being an EP, but whilst listening to the album it really impresses as a full-grown album. 'Les hommes sont venu' is an extra four minute minimalistic piece with an emphasis on female vocals choir arrangements with a very mystical atmosphere.

The instrumentation on 'Felicite Thosz' reminds me a bit of the Wurdah Itah period; with piano, vocals and drums beging the main instruments. Of course the bass guitar also plays a significant role and some electric guitar lines were well integrated into the compositions. At first spin I'm delighted when it comes to the production, it has more depth and sounds less dense then E-R' and K.A. The vocals sound more authentic and therefor are a great contribution to the liveliness of the record. The drums of Vander, whom I think of as my favorite drummer (next to Jaki Leibezeit), impresses with subtle new findings and great accents during up-tempo parts. His way of writing compostions from a base of very effective and complicated rhythms is also effective in this relatively optimistic album. The strong forwarded pulses and swing (though not recognisable as such) really get's the whole thing running like a well oiled machine. And yes, every Magma fan knows that Magma is gerantied to give away some moments of maximum intesive playing and grotesque larger- then-life sounding musical landscapes.

Conclusion. Yet another must-have Magma release for fans an perhaps the easiest entry into the band's discography to this date. The production is great, the compostion briljant and the album has a really postive, mysterious & adventerious mood that really cheers me up. Perhaps fans of the dark type Zeuhl will be a bit dissapointed, but they should try this album anyway. I'm giving four stars right now, but perhaps the album will grow on me some more.

* Edited. This is a masterpiece and therefore fully deserves the five star rating in my opinion. Review from progarchives.com

Songs / Tracks Listing 

1. Félicité Thösz (28:06)

Ëkmah - 2:39

Ëlss - 1:11

Dzoï - 2:27

Nüms - 1:51

Tëha - 5:15

Waahrz - 4:03

Dühl - 1:19

Tsaï ! - 3:41

Öhst - 4:53

Zahrr - 0:49

2. Les hommes sont venus (4:18)

Total Time: 32:24

Line-up / Musicians

- Stella VANDER / vocals, tambourine

- Isabelle FEUILLEBOIS / vocals, bells

- Hervé AKNIN / vocals

- Benoît ALZIARY / vibraphone

- James MAC GAW / guitar

- Bruno RUDER / piano

- Philippe BUSSONNET / bass

- Christian VANDER / drums, vocals, piano, keyboard

LES HOMMES SONT VENUS

- Stella VANDER / vocals

- Isabelle FEUILLEBOIS / vocals

- Hervé AKNIN, Sandrine DESTEFANIS, Sylvie FISICHELLA, Marcus LINON / vocals

- Christian VANDER / keyboard, glockenspiel

Gerard - Keyboards Trian(gle II (2002)

First album featuring new versions of prog-rock legends songs called "Keyboards Triangle" was recorded in 1999 by two Japanese bands: "Gerard" & "Ars Nova". It was really splendid disk which many prog fans enjoyed and praised quite much. It's a pity that most of people don't know that in 2002 second part of this project was recorded, this time solely by "Gerard". Name of this release is "Keyboard Triangle 2" (yes, "keyboard" not "keyboards" like in the first part).

Compared with first part this album is significantly shorter and less diverse (only one band is playing - "Gerard", and only 3 bands are covered - "King Crimson", "UK" and "ELP"). However I can assure you that it includes ones of my favorite music pieces out there! I can even say that I like it more than "Keyboards Triangle" because covers are much tighter and less crazy-in sake-for-being-crazy here. Almost no dull, over-played, repetitive madness here, just pure prog-rock enjoyment. That's why I love it so much.

Let's find out how Toshio Egawa and his colleagues "butchered" those classics using keyboards power trio (+vocal) formula:

1. "21st Century Schizoid Man" - cover of the most famous King Crimson's song is astonishing! Instead of guitar and saxophone which led this track in its original form, we have extremely intense synthesizer riffs and fat, over-driven Hammond organ runs. Simon Nakaji which guesting on vocal duties on this album sounds truly demonic singing through some electronic device which modulate his voice (just like Greg Lake in original). Fully expanded organ solo with all of these ELPish pyrotechnics is a really nice surprise here too. To be honest I enjoy this version as much as KC's original.

2. "Danger Money" - another song and another fantastic cover. This time "Gerard" decided to presents us their own vision of song "Danger Money" from British band "UK" repertoire. This cover is more similar to original one because of similar instrumentation used: synthesizer & organ, but I have to admit that these medieval-like vocal harmonies shared between Simon Nakaji & Atsushi Hasegawa sounds even better than in original for me! Only this "Danger Money!" part sounds a bit cheesy because of some strange electronic voice modulation. Very good version indeed but doesn't bring anything new to the original.

3. "Knife Edge" - my favorite song on "Keyboard Triangle II", truly splendid. You thought that Emerson plays mean organ riff in original ELP version? So check out how Egawa hits us in the head with even more brutal Hammond delivery! His organ truly rips our ears apart! His solo in the middle is even more vigorous & lightning fast than Emerson's, and includes all necessary shrieks, "explosions" and other pyrotechnics. I can only add Simon also sings with real anger so suitable for this composition. I didn't think that it's possible, but I really prefer this version to the original one.

4. "Alaska / Time To Kill" - another track is a medley of two compositions of "UK". Just like original is starts with space rockish, echoing synthesizer flights but after less than 2 minutes Egawa's organ strikes back again with double power. While I'm not a big fan of original "Alaska" tune, here this composition bursts out with its full symphonic splendor. Toshio really knows like nobody else how to treat his Hammond to create so flashy-violent sound. After this instrumental section comes "Time To Kill" which I don't enjoy so much. Simon's voice seems to be a bit too screamy and out of key here. Thankfully later on we can listen to delightful violin soling sounds created on some truly fantastic synthesizer (yes, you have to check it out to believe that violin can be so perfectly mimicked on keyboard!).

5. "Lark's Tongues In Aspic Part Two" - to be honest I'm not a big fan of King Crimson's original, however Gerard's version seems to be less "forced" and more interesting for me. Once again Egawa uses his violin-like synthesizer here and mix it with swirling organ grooves. His Hammond solo (another Hammond solo on...King Crimson's composition! Robert Fripp would be surely puzzled while listening to this staff :-) is astonishing as always and sounds very powerful & symphonic. Just great!

In 2 words: must have! "Keyboard Triangle" is a perfect staff for all keyboards-driven goers out there. If you want to know how sound organ & synth based King Crimon's classics, proceed to this album immediately! You want to know how ELP's and UK's compositions sound when they are re-arranged by Japanese keyboards wizard Toshio Egawa - check this album. Just like "Keyboards Triangle", its second part is a brilliant symphonic prog release from "the country where cherry blossoms" which should be checked by aficionados of other keys-driven groups like "ELP", "Trace", "Triumvirat", "Le Orme", "Collegium Musicum", "Little Tragedies" or "Social Tension".

Songs / Tracks Listing

1. 21st Century Schizoid Man (8:02)

2. Danger Money (8:02)

3. Knife Edge (6:32)

4. Alaska~Time To Kill (7:40)

5. Lark's Tongues In Aspic Part Two (6:54)

Total Time: 37:10

Line-up / Musicians

- Toshio Egawa / keyboards

- Atsushi Hasegawa / bass, chorus

- Masuhiro Goto / drums

- Simon Nakaji / vocals

Bo Hansson - Music Inspired By Watership Down (1977)

I personally love the fourth Bo Hannson's album. It's a cohesive and mature work builded up around relaxing melodies and warm colours. These elements are well imprinted in the opener, the magnum opus titled "Born in the Gentle South" (16,35 minutes). The nordic influence are more sparse, now, keyboards and synthesizers have the most prominent role. The other tracks are in the same vein, slow for the most part with many surprises and unespected changing of tempos that enrich the arrangements. "The Twice Victory" (8,14 minutes) is the other most evident example with an orchestral and anguishing (I don't know why, but it is so) structure.

The titles of the songs are inspired by the verses of famous english poets, Shakespeare and Keats, for instance. The more melancholic sound demonstrates the the disillusionment of Bo Hansson for the music press of that time. Indifference was what they gave him for the release of this jewel! Nowadays seems to be not very different from 1977: I saw in fact many people saying this album is the weakest of his (not large) production. I tell you the truth: Watership Down is the album I listened to the most. It's a sort of hymn, sometimes giving us the opportunity to escape from our reality and travel far from home. In fact the sound is dreamy and floating and the electric guitar shows some references to Pink Floyd.

The bad thing is that it is the last Hansson's album and, for another time, it's sad to see that also this artist had to stop his solo career after so high levels of quality. Review from progarchives.com

Songs / Tracks Listing

1. Born of the gentle South 

2. Allegro for a rescue 

3. Legend and light 

4. Trial and adversity 

5. The twice - victory 

6. The kingdom brightly smiles

Line-up / Musicians

- Bo Hansson / piano, keyboards, bass, guitar, tambourine

+ Sten Bergman / flute 

- Torbjörn Eklund / wooden flutes

- Kenny Håkansson / guitar, bass 

- Göran Lagerberg / bass 

- Tomas Netzler / bass 

- Fredrik Norßn / drums 

- Pontus Olsson / piano, recording

- Bo Skoglund / drums, maracas

Entheogenic - Spontaneous Illumination

The second full-length album by psychedelic dub producers Entheogenic is a genre-defining album that offers a mixture of ambient and chillout atmospheres with intelligent electronic dub, ethnic influences, deep drums and basses, and electronic and acoustic instruments. Spontaneous Illumination was produced by Piers Oak-Rhind and Helmut Glavar at Entheogenic Soundlabs in the southwest of France. Most of the sound samples used on this album -- such as birds and water -- were recorded by the artists in the beautiful environment of their studio. This album is timeless, beautiful, and skillfully produced with groove-oriented synthesizer music heavily laced with global samples. The album was released on c.o.r.n. recordings and was the first psy-chill album to make it to number one in the German chillout charts. These charts are assembled from the votes of 150 downtempo DJs. Spontaneous Illumination stayed in the Top Ten for an additional 12 weeks. ~ Bhasker Gupta