The Gourishankar - 2nd Hands (2007)

Extraordinary album by this russian band. Musicianship is superlative and complexities are truly mind boggling with a mix of styles which is quite unlike anything else you've heard before!! If you thought bands like Gentle Giant etc were intricate, this goes way beyond them all! A masterwork!!

One may consider me a maniac giving 5 stars to every Prog band from post-Soviet area.I must disappoint you - I'm a quite adequate person and use 5 stars pretty rare. These incredible guys truly deserve every star from all 5!Participating in a number of other projects (from alternative rock to electronics), guys distancing themselves from Prog label as well as from any other.Come on, don't be shy - you're Prog! Welcome!

OK, sceptics, look here - we have amazing blend of Retro and Modern Prog with perfect equilibrium. Don't stuck to PORCUPINE TREE or TAAL comparings - they are used only to denote that THE GOURISHANKAR is the same way beautiful, challenging and essential. If you'll miss it, then go and burn your CD collection: you're progger no more.

The album starts from oriental flavour of "Moon7" - energetic complex instrumental evoking best ANGLAGARD's moments, but with dozens of other influences from almost EVERY musical genre we - humans - have. THE GOURISHANKAR have probably wider range of influences ;). One can notice that flavour in almost every track - the following "Endless Drama" (think of GENTLE GIANT jams with DREAM THEATER) has it, and "Queer Forest" with unexpected Reggae mid-part too. That's great - the band named in eastern way MUST have some mystic eastern tunes!And it has and in a good way. Short "Taste a Cake" leads you to "The Inexpressible Chagrin", a wonderful H's MARILLION-like ballad (a radio piece? ;) ), which proves how strong these guys are in songwriting - complex but never chaotic, melodic but never cheesy!!! Awesome! Another dark instrumental follows ("Syx"), and seventh track frightens us with its name ("End"). Hell no! The good MUST last for some long time, and closing 18-min long monster ("Marvelous Choice") is alone worth buying of this CD!

EXTREMELY RECOMMENDED for EVERY PROGRESSIVE ROCK listener! Open your minds and enjoy! Simply the BEST from the whole 2007 I heard so far!

This band is really unbelievable. The music is very technical, but very melodic, and full of surprising ideas in rhythm development. You hear beautiful violin tunes and suddenly you hear rumba and in no time you hear wall of prog keyboards. You can never predict whether you hear classical sound or running rock or reggae next to what you hear now. It changes by seconds. Waoh.

Another remark we can make is they are talented in melody making. The second track "Endless Drama" is for instance like a song of Pet Shop Boys, yes, it is pop but entirely progressive rock that walks in the center of this genre. Can you imagine ? I say no you can't until you hear the music. Five-star album with no hesitation. For all prog fans.

The Gourishankar are an incredible Russian prog act. Their music is sublime - literally. It has complete and incredible mystery, like no other music ive ever heard before. It has such a deep, meaningful, spiritual sense to it. It often sounds like a jam with wierd effects, total electronic madness, yet it has strange sense and a true progressive sound.

It is completely different from anything i have heard. They arent afraid to create interesing, happier, more up-lifting moments. The outro of the song "..end" is magnificent and totally up-lifting. Styx and Moon 7 are incredile displays of virtuosity and technical wizardry - yet they never sacrifice origionality and melody for technicality.

Overall, a really decent band, with a suberb album that deserves 5 stars for origionality, a special kind of unique music and outstanding musicianship. Reviews from Progarchives.com

Songs / Tracks Listing

 

1. Moon7 (10:11)
2. Endless Drama (7:45)
3. Queer Forest (6:30)
4. Taste A Cake (1:47)
5. The Inexpressible Chagrin (6:54)
6. Syx (11:08)
7. ...End (8:40)
8. Marvelous Choice (18:16)

Total Time: 71:11

Line-up / Musicians

 

- Vlad MJ Whiner / lead vocals
- Doran Usher / keyboards, programming
- Nomy Agranson / guitars, backing vocals
- Cat Heady / drums, loops

Guest musicians:
- Vladimir Rastorguev / violin, viola
- Dmitry Ulyashev / saxophone, flute
- Alla Izverskaya / backing vocals

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

King Crimson - Red (1974)

Wow, KING CRIMSON really knows how to open an album! The first thundering notes of "Red" put it right alongside "Lark's Tounges" (any part) and "Fracture" as a classic KC style sonic blast. The song, and the album overall, is a bit more focused than previous efforts; having pared down the lineup and the chaos a little works well for a closing statement to this version of the band. "Fallen Angel" is a lovely melodic composition, in the same realm as "The Night Watch" or "Book of Saturdays"; the refrain wears on me just a little but I'm always transfixed by Fripp's beautiful, restrained lead playing on this one. "One More Red Nightmare" is less appealing to me, but like "Providence" contains some memorable instrumental moments among the improvisation- largely from the guest players, who sound unexpectedly at home in the mix (Mel Collins...do I have to tell anyone where else to find him?). This pair of songs is where I sometimes lose a little bit of interest, though, as they do not rise to the standards of the rest of "Red". Forget about the complaints, though, because the album climaxes in "Starless", arguably one of the band's finest works; from an instantly lovely melancholy opening to the minimalist and funky/noisy sections (elements of the "Discipline" era can be heard in their prototypical form) and finally to a short but stirring conclusion, the band and guest musicians are nothing less than magnificent. It is simultaneously the culmination of everything the band has done before and also notably unique among the band's songs. If only the recording quality were a little better...but if you like "Starless and Bible Black" as much as I do, you'll find "Red" full of wonderful moments, a few surprises, and maybe the best KING CRIMSON song ever recorded. KING CRIMSON Red music reviews and MP3

Songs / Tracks Listing 1. Red (6:20)
2. Fallen Angel (6:00)
3. One More Red Nightmare (7:04)
4. Providence (8:08)
5. Starless (12:18)

Total Time: 39:50

Line-up / Musicians - Bill Bruford / drums
- Robert Fripp / guitars
- John Wetton / bass, vocals

AND:
- Mark Charig / cornet
- Mel Collins / soprano saxophone
- David Cross / violin
- Ian McDonald / alto saxophone
- Robin Miller / oboe

King Crimson - Red: One More Red Nightmare

Red - King Crimson (Live in Japan) (HD)

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Fusioon - Fusioon (1972)

One of those artwork sleeves that symbolize the music style best, but this is doubled by the band's name - the other one that does equally good is Nucleus's Elastic Rock recorded almost three years before. The first chapter of this standard prog quartet with the Camp brothers at bass and KB is actually fairly accessible (well compared to the other two later albums) and IMHO, is maybe the one I prefer because of its naiveté.

This record is a mostly instrumental one (a few scatting one the opening track), but this does not hamper the enjoyment of the music: they have a fairly unique sound and the music has some very subtle Spanish overtones but not in the Flamenco  the classical influences peak here and there, most notably in Negra Sombra (Dark Black). Apparently all of the tracks are covers of traditional songs (6 of 8 tracks) all adapted/arranged by Manel Camp and the other two being penned brealm. Their sound oscillates between Isotope, Wigwam (the Gustavson and Pohjola compositions), Focus or Finch, Sloche (or fellow Quebecois Maneige) and countrymen Iceberg. If the jazz colours are the main characteristics of the album,y other writers. The odd flute, sax and clarinet (actually un-credited) but drummer Arisa is the one playing them (says D-E Asbjornsen) and bring touches of brilliance. The superb piano may even ring reminiscence of Chilean Los Jaivas in their more symphonic moments and with the organs, ELP comes to mind.

Certainly worth the investigation, especially if you enjoyed the better-known two later albums. Review from progarchives.com

Songs / Tracks Listing 

1. Danza Del Molinero (4:33)
2. Ya Se Van Los Pastores(5:16)
3. Ses Porqueres (3:13)
4. Pavana Espanola (3:01)
5. Negra Sombra (3:44)
6. En El Puerto De Pajares (4:13)
7. Rima Infantil (3:37)
8. El Cant Del Ocells (4:15)

Total Time: 30:52

Line-up / Musicians

- Santi Arisa / drums
- Marti Brunet / guitar, synthesizers
- Jordi Camp / bass
- Manel Camp / piano, keyboards

Porcupine Tree - The Incident (2009)

Porcupine Tree's The Incident is probably the most anticipated album of a phenomenal year of new prog. Many fans of the genre know the artist inside and out, so I offer the perspective of a more casual fan. I have downloaded one album (In Absentia) and scattered tracks from other albums, all of which I've enjoyed. I am not familiar with the early PT catalog. This is the first album I've listened to repeatedly with a critical ear, specifically with a review in mind. I'm not quite sure if my favorable impression is based more on spending the extra time, or with the material itself.

So my current opinion is that this is my favorite Porcupine Tree material. I hear a greater range of sounds on this record including more dark electronica and nastier guitars, both of which I enjoy quite a bit. For the first time, I hear Opeth influencing PT rather than the other way around, and the Akerfeldt-ish riffing gives the heavy parts some cajones that I really hadn't heard before. In fact, the whole album just seems like Wilson is pulling from a more authentic darkness rather than an imagined one. Maybe the fact that he was inspired by specific, real stories got him a little outside of his head a bit. Maybe someone kicked his dog. In any case, his menace is a bit more convincing than in the past.

That doesn't mean this is the best album of all time of even of the year. But it's a very enjoyable listen that pulls on a variety of dark prog, sometimes purposefully derivative. The centerpiece track "Time Flies," which begins by listing the music of Wilson's youth, has multiple direct allusions to Pink Floyd. The most obvious is the main acoustic riff based directly on "Dogs," but there are sections reminiscent of "Time" and "Run Like Hell" also, covering PF's classics nicely. The title track sounds exactly like a Nine Inch Nails track, though Trent Reznor hasn't recorded anything as good in over a decade. Added into the mix is a healthy helping of odd time signatures which make at least these prog ears happy.

There's nothing here you haven't heard before. There is a plenty of pop sensibility, including even a couple big choruses. What is new is that the production is better than ever. In the past, Porcupine Tree has always seemed over-worked, almost clinical sounding. I'm sure Wilson still pores over everything with a very finely toothed comb, but the sounds on this album have a bit more life in them than the older tracks I have. The harmonies on "Kneel and Disconnect" are as good as they've ever been on a PT album. Some of the outros are overlong, but all in all this is quite good.

I've wavered between 3 and 4 stars for this album, but the album has grown on me. Especially when I'm giving more attention, I've really enjoyed the album. Even after 8-10 listens and reading all the lyrics multiple times, I haven't started to saturate yet. 4/5 it is.PORCUPINE TREE The Incident music reviews and MP3 review fron prigarchives.com
Songs / Tracks Listing Disc 1 - 55:08
1. The Incident
I. Occam's Razor (1:55)
II. The Blind House (5:47)
III. Great Expectations (1:26)
IV. Kneel and Disconnect (2:03)
V. Drawing the Line (4:43)
VI. The Incident (5:20)
VII. Your Unpleasant Family (1:48)
VIII. The Yellow Windows of the Evening Train (2:00)
IX. Time Flies (11:40)
X. Degree Zero of Liberty (1:45)
XI. Octane Twisted (5:03)
XII. The Séance (2:39)
XIII. Circle of Manias (2:18)
XIV. I Drive the Hearse (6:41)

Line-up / Musicians

- Steven Wilson / vocals, guitar, piano
- Richard Barbieri / keyboards, synthesizer
- Colin Edwin / bass guitar
- Gavin Harrison / drums

Free music - The Incident

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Gentle Giant - Live in Stokholm '75

It's been a year since I saw the reunion of Three Friends, featuring Gary Green, Kerry Minnear and Malcolm Mortimore, at Musikens hus in Gothenburg and I still have very strong memories of that wonderful gig. While there, chatting before the show, I met quite a few people who attended the '75 Stockholm show and spoke very fondly of the whole experience telling me that it would be a great honor to revisit a Gentle Giant performance almost 35 years later!

Unlike many of the British acts of their time, Gentle Giants live performances were just as notorious as their studio releases. Listening to this 2009 release of the 1975 live recording from Stockholm University's Kårhuset I can clearly see why. Not only do the band members manage to recreate the compositions in the live setting but they also elevate them to a whole new level. This was, after all, the band's golden era period where they could pretty much do no wrong and it shows on each one of these performances.

The set-list features an unexpected range of tracks mainly from the three consecutive masterpiece released by the band after the departure of Phil Shulman in 1972. These are: The Runaway/Experience from In A Glass House, Proclamation, Cogs In Cogs and So Sincere from The Power And The Glory, a loose instrumental adaptation of Plain Truth from Acquiring The Taste followed by two new tracks from the 1975 release Free Hand.

First off, let me put your worries to rest about the sound quality since this release has an excellent sound for its time. Each instrument is distinguishable from the mix and the audience participation, although present, doesn't distract from the performance even in such quiet moments like the first part of Experience. This is definitely a major improvement for us who hated the live sound featured on the bonus tracks on the remastered edition of In A Glass House. I definitely think that everyone who attended the concert will be able to fully relive the memories and nostalgia that they have for the performance by listening to this album!

The first few tracks do deviate from their studio counterparts on a few occasions but it's towards the album's second part, starting with So Sincere, that the band begins to loosen up the material and we get some truly extraordinary results. First off the 4 minute So Sincere has been expanded to an 11 minute mark by a jamming middle section followed by drum & vibraphone solo spot outro. Plus we get a vocal duet between Derek and Kerry! Plain Truth isn't really the straight forward composition that we all rememberer so well from the band's second album. Instead we get a very loose instrumental version of the track that doesn't feature a single uttered vocal line. Finally, the two Free Hand tracks have also been slightly expanded by added jam moments that definitely leave the crowd screaming for more!

Overall this is an excellent Gentle Giant live release that should have a place in every prog rock collection right next to Playing The Fool and Giant On The Box!

***** star songs: So Sincere (11:03)

**** star songs: Cogs In Cogs (3:16) Proclamation (5:33) The Runaway/Experience (10:07) Plain Truth (8:21) Free Hand (7:09) Just The Same (6:07)

GENTLE GIANT Live In Stockholm '75 music reviews and MP3(Review from progarchiv)

Songs / Tracks Listing

1. Cogs In Cogs (3:30)
2. Proclamation (3:18)
3. The Runaway/Experience (10:08)
4. So Sincere (11:05)
5. Plain Truth (8:01)
6. Free Hand (7:20)
7. Just The Same (6:23)

Total Time 49:05

Line-up / Musicians

- Gary Green / electric guitar, acoustic guitar, 12 string guitar, alto recorder, descant recorder, vocals, percussion
- Kerry Minnear / keyboards, cello, vibes, tenor recorder, vocals, percussion
- Derek Shulman / vocals, alto sax, descant recorder, bass, percussion
- Ray Shulman / bass, violin, acoustic guitar, descant recorder, trumpet, vocals, percussion
- John Weathers / drums, vibes, tambour, vocals, percussion

Free music - Live In Stockholm '75

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Argos - Circles (2010)

In some way ARGOS' new effort points to the predecessor debut which basically was divided in three parts, bearing references to different music styles and bands. But this time they obviously avoid a clear distinction and mix them all up across the album respectively even within the particular songs. So you will find a tricky blend of canterbury, eclectic and symphonic elements ... with the emphasis on the latter as for my impression. They are a quartet now due to the addition of Rico Florcak which surely gives the guitar more importance.

This new album was completely worked out on their own with love for detail (recording, mixing, mastering, cover artwork). While exploring the booklet the front cover is something to think about especially. The circle according to the album title - built up by a marching band which probably are representing the vintage retro aspect of the album. Finally we have the @ char which stands for the modern internet dominated society. And indeed you will find several comments within the song notes pointing to inspirations taken from several websites, speaking of the lyrics for example.

To pick up some impressions from diverse songs now ... the short keyboard dominated Sammelsurium covers some german recitative and a fantastic drive due to Ulf Jacobs' intriguing drum work. Or on the contrary just take the wonderful eclectic ballad Custody Of The Knave - when I hear Robert Gozon singing the lead vocals I'm often remembered at Peter Hammill. Lines On The Horizon seems to be the most charming one, very melodic with delicate flute and keyboard support (including mellotron) ... so much the more provided with stunning variety. Everytime I come to this song it sounds different somehow. Or to describe it in another way - and this basically fits for most of the songs - what seems to be relatively simple at first proves to be something tricky finally.

A Thousand Years musically expresses some sort of optimism as for my impression, a strong, powerful and excited exemplar - at least matching for some parts. Speaking of Sun And Moon next I want to mention the impressing guitar contributions. The symphonic The Gatekeeper is decorated with some Erich Kästner poetry (excerpts of 'Der Oktober') - an epic which is comparable to Big Big Train's masterpiece 'The Underfall Yard'. Nearly working in the same way Lost On The Playground is pointed out as the true showcase of their new band member ... and indeed, you will hear Rico Florcak alternating between riffing rhythm and soaring solo guitar work.

So far so good ... even if two or three tracks lose potential a bit 'Circles' can be already counted among the 2010 big hits. The compositions are surely picking up influences from diverse prog bands. However, the songs are ARGOS typical in the end, compact - which means melody, melancholy, instrumental and vocal variety, short solos, turns and breaks are blended to something fresh and impressing. This is the real deal - they have worked out an entertaining album. 'Circles' is dedicated to lovers of charming prog songs provided with a symphonic and canterbury outfit - highly recommended! ARGOS Circles music reviews and MP3 ( Review from progarchives.com)

Songs / Tracks Listing 1. Sammel Surium (2:49)
2. Closed Circle (4:36)
3. A Thousand Years (8:12)
4. Lines On The Horizon (5:48)
5. Sun And Moon (3:36)
6. Custody Of The Knave (6:04)
7. The Gatekeeper (7:51)
8. Willow Wind (3:13)
9. Total Mess Retail (3:47)
10. Lost On The Playground (8:17)
11. Progology (5:16)

Line-up / Musicians - Thomas Klarmann / bass, flute, keyboards, guitars, lead vocals (4,8,9)
- Robert Gozon / lead vocals, keyboards, guitars
- Ulf Jacobs / drums, percussion, Roland DM, vocals
- Rico Florcak / electric guitar

guest musicians:
- Michael Hahn / electric guitar
- Dieter Guntermann / soprano sax

Free music - Circles

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East Of eden - Mercator Projected (1969)

A spellbinding work from the dawn of the progressive era, Mercator Projected is no fully-formed symphonic prog masterpiece. But as a harbinger of the future (this album emerged in 1969) that is also challenging and enjoyable in its own right, there are few albums to match the status of this one. East Of Eden's true star is Dave Arbus who plays violin, flute, recorder and sax (although Ron Caines also joins in on sax) and it is a shame that the group's success with the novelty hit single Jig-A-Jig (#7 in April 1971) eventually stranded them in no-man's land. However this awesomely inventive debut should not be allowed to be forgotten.

What stays with me most is the glorious hook of Isadora ... "Isadora dance, we are entranced" probably works best if you're down with the hippie vibe, for dancing flutes and Eastern themes are draped around lyrics that are simultaneously corny and deep. Mercator Projector is also defined by the psychedelic rambles of Waterways, and perhaps more than anything else the proto-prog blues of Northern Hemisphere and the hilarious harmonica-driven Centaur Woman (replete with an impressive fuzz-bass solo courtesy of Steve York).

The softer side of the band is featured in the melancholic Bathers, in which violin, organ (from Caines) and recorder are blended to astounding effect. With the subtle drumming of Dave Dufont giving the song added character, this song might well appeal to those who enjoy King Crimson's early ballads. The propulsive Communion also features flute prominently, as well as some cute sound effects and even a joke told in another language (they translate everything except the punchline!). Moth is another piece that incorporates Eastern style exploration, although it is occasionally interspersed with a glorious Beatlesque melody. It all concludes with the high-octane jazzy jam In The Stable Of The Sphinx, which is carried by the saxes, but features spectacular turns on violin and guitar from Arbus and Geoff Nicholson respectively.

There are shades of Jethro Tull & Gravy Train here, but these guys are generally jazzier, almost straying into Soft Machine territory. There are times when they sound like King Crimson or The Moody Blues, although it's interesting that they don't use the mellotron at all. When you factor in that they were doing this stuff at the same time that most of these bands got their start, it becomes apparent that East Of Eden is an essential stop for those looking to investigate the roots of progressive rock. I consider Mercator Projected to be among the best proto-prog albums ever. ... 77% on the MPV scale EAST OF EDEN Mercator Projected music reviews and MP3

Songs / Tracks Listing 1. Northern Hemisphere (5:03)
2. Isadora (4:19)
3. Waterways (7:00)
4. Centaur Woman (7:09)
5. Bathers (4:57)
6. Communion (4:02)
7. Moth (4:03)
8. In The Stable Of The Sphinx (8:20)

Total Time: 44:53

Line-up / Musicians

- Dave Arbus / electric violin, flute, bagpipe, recorders, two saxophones
- Ron Caines / Soprano & Alto saxophones (acoustic & amplified), organ, vocals (4)
- Dave Dufont / percussions
- Geoff Nicholson / guitars, Vocals
- Steve York / bass guitar, Harmonica, Indian thumb piano

Free music - East of Eden

Fusioon - Absolute Fusioon (1974)

Fusioon's recordings are amongst the most exciting offerings in Spanish prog history. Thier second slbum 'Fusioon 2' comprises a stunning combination of delightful melodies and counterpoints, clever interplaying, delicate dissonances, and even some electronic avant- garde stuff which adds an interesting air of weirdness to the overall musical product. It is clear that the band is pretty much into traditional classical music (in Fact, they quote Tchaikovsky somewhere in track 3), as well as contemporary chamber (such as Bartok), jazz, and Catalonian folk: hece, it should come as no susrprise that all these varied elements are essential to their own prog sound. At times, Fusioon sounds a bit reminiscent of Gentle Giant, Return to Forever, and in a slightly manner, of Zappa; yet, they manage to create a particular sound of their own. The band's repertoire is basically instrumental: the occasional choral arrangements (performed by the band members themselves) are included for playful purposes, mainly. "Farsa del Buen Vivir" is a nice tune, catchy but not simplistic, which serves as a good opener. It is in the following numbers that Fusioon's skill and inventiveness shines in full splendour. "Contraste" and "Diálogos" comprise plenty of dissonant passages, synth textures, and jazz-fusinonesque flavours; on the other hand, "Tritons" and "Concerto Grosso" are structured on a symphonic basis, still containing some occasional avant-garde adornments and surprising counterpoints. Fusioon works immaculately as a well-oiled ensemble: maybe this is the main reason why 'Fusion 2' is such a recommendable album. Review from progarchives.com

 Songs / Tracks Listing

1. Farsa Del Buen Vivir (3:08)
2. Contraste (6:32)
3. Tritons (8:15)
4. Dialogos (6:42)
5. Concerto Grosso (9:52)

Total Time: 34:2

Line-up / Musicians

      - Santi Arisa / percussion, drums
- Jordi Camp / bass
- Marti Brunet / guitar, synthesizer
- Manel Camp / piano, organ

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Pekka Pohjola - PIHKASILMÄ KAARNAKORVA (1972)

While many seem to think of this debut as a rather mediocre effort (in Pohjola's standards), I truly believe it is his second best album, after the brilliant Harakka Bialoipokku. Pihkasilmä Kaarnakorva was my introduction to Pohjola, and thus has some nostalgic values as well. That is not the reason why I rate this album so highly, though. It is amazing how coherent this album is, considering the age of the main performer. Pohjola, still a member of Wigwam at this time, did this album at the age of 20. I'm fully aware of the fact that this is not the most original album to walk the face of earth - The Zappa-esque leanings are quite evident, but the indisputable quality of the compositions here still manages to stun me. Admittedly, Pihkasilmä Kaarnakorva is hardly flawless. The album opener "Metsonpeliä" starts promisingly enough, but soon becomes rather tedious when we have to listen to Pohjola's bass solo for five minutes. He's a fine bassist, no doubt, but this part of the song seems rather pointless, if you ask me. The classical leanings are strong, especially if you listen to the pianos - which are one of the main instruments here. The compositions are full of subtle, little details that'll surprise you time after time. While the music is complex, it becomes surprisingly catchy and easy on the ears by the time you've listened to this album for the 5-10th time. The only thing that slightly bothers me about this album, is "Nipistys". Now, don't get me wrong, it is one of my favorite Pohjola compositions, but the version here is much inferior to the one Wigwam used to play on their gigs. In many ways, this is Pohjola's most complex and ambitious album. It is not a success in every level, but it is a mightily fine effort from one of the pioneers of Finnish progressive music. Strongly recommended to anyone interested in the jazzy side of prog. For those who've heard Pohjola's compositions in Wigwam - if you liked those, I bet you'll love this one. I know I do.PEKKA POHJOLA Pihkasilmä Kaarnakorva music reviews and MP3 ( Review from progarchives.com)

Songs / Tracks Listing

1. Metsonpeliä ~ Capercaillie games (10:33)
2. Virtojen kiharat ~ Curls of streams (5:28)
3. Armoton idylli ~ Merciless idyll (3:47)
4. Nipistys ~ Pinch (3:32)
5. Valittaja ~ Complainer (10:22)

Total Time: 33:42

Line-up / Musicians

- Pekka Pohjola / bass, violins, piano, final organ
- Jukka Gustavson / organ, piano
- Reino Laine / drums
- Risto Pensola / clarinet
- Pekka Pöyry / soprano sax, flute

Free music - Pihkasilmä kaarnakorva

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Djam Karat - Collaborator (1994)

"Collaborator" is just like the title implies a musical collaboration between DJAM KARET and some friends and guest musicians. The guest musicians sent Djam Karet some incomplete musical fragments on DAT, and DJAM KARET put them together and more sounds and textures to the material. The musicians who sent Djam Karet their music was Marc Anderson, Jeff Greinke, Walter Holland, Loren Nerell, Steve Roach, Kit Watkins (HAPPY THE MAN, CAMEL) and Carl Weingarten. The final result is atmospheric, ambient electronic music, which has the typical DJAM KARET sound. The album became "#10 Album Of 1994" in Deep Listenings magazine. This isn't a real DJAM KARET album but everyone who's familiar with the more ambient DJAM KARET will surely like this CD as well. Review from progarchives.com.

Great band great album from this sadly under appreciated group.

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Songs / Tracks Listing

1. Solar Flare (3:16)
2. Gondwanaland (4:26)
3. The Anointing Of The Sick (6:53)
4. The Day After (12:31)
5. Foreign Lesion (4:10)
6. The 17th Karmapa (2:57)
7. Moorings (6:47)
8. Cliff Spirits (3:57)
9. Submersion (5:49)
10. Food Chain (8:14)
11. Salt Road (6:01)
12. The Fearful Voice (6:38)

Total Time: 72:33

Line-up / Musicians -

- Gayle Ellett / 7 string electric guitar etc
- Mike Henderson / 6 string electric guitar, keyboards etc
- Henry Osborne / 6-string electric bass, bottled bass, etc

Ikarus - Ikarus ( 1971)

The 15-mins Eclipse starts out blues-like with a big guitar riff, but soon evolves into excellent phases of instrumental interplay, while Kohler's voice and accent being rather convincing, but the lyrics (not necessarily his when reading the credits) are not quite so. The opening track is quite interesting with its multiple movements including the organ-filled Scyscraper over symphonic layers (incl mellotrons) and ending in electronic birdsongs and other bruitist stuff. The following Mesentery is the weakest track of the album and disappears in a kosmic and spacey interlude before returning via string layers. The flipside opens on TV or Radio jingle ?like riff, which is the start of the other epic, the 11-mins Raven where Petersen's wind instruments soar, then suddenly (abruptly) morphing into a psych/space improv in its middle section before climbing back gradually via a an heard-elsewhere riff (Heep's Gypsy Woman) and ending in footsteps. The closing track (sung by guitarist Schulz) Early Bell's Voice is a strange trip through ether-modified soundscapes where the organ dominates until disappearing into a knell tolling its madness. Strange ending.

This was to be their only album (now very rare and expensive as a vinyl), most of the members continuing their musical foray, but not necessarily in prog circles, with leader Petersen becoming a record producer later in the decade after passing through Cornucopia. While I wouldn't call Ikarus essential to your collection, it is surely good enough to earn a spot in it and therefore deserving its fourth star.(review from progarchives.com)

Songs / Tracks Listing

1. Eclipse: (15:24)
a) Skyscrapers
b) Sooner or later
2. Mesentery (6:11)
3. The raven (including "Theme for James Marshall") (11:43)
4. Early bell's voice (7:43)

Total Time: 41:01

Line-up / Musicians

- Lorenz Köhler / lead vocals
- Wolfgang Kracht / bass, back vocals
- Jochen Petersen / acoustic & electric guitars, alto & tenor saxes, flute, clarinet, back vocals
- Bernd Schroder / drums, percussion
- Manfred Schulz / guitar, lead vocals (4), back vocals
- Wulf-Dieter Struntz / organ, piano

Ikarus - Theme For James Marshall (part I)

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