Blank Manuskript - The Soldier (2015)

Certainly a band to watch out for. There first album was really excellent but this one surpasses even that one! Fantastic progressive rock music with nods to the likes of \pink \floyd etc. A supremely varied concept album with lots of unique touches which will keep you coming back for more. They do me anyway! Look forward to there next one! Check out the amazing 'Pink Floyd' covers by this band below!!
SC&ME

Each time I receive an album from my good friend Alfons Wohlmuth I ask myself how different would be the story of BLANK MANUSKRIPT if they had been born in the UK instead of Austria, because each and every one of their previous releases has been impeccable and brilliant, but never got the attention that many inferior British bands receive.

Their debut Tales from an Island - Impressions from Rapa Nui was excellent A Profound Path was too short but better musically , now I received the conceptual The Waiting Soldier, which is as good as all the previous but on a full length LP Format, so there's not a weak moment on their career.

My first positive impression was when I saw the cover, a beautiful presentation in LP format that made me remember my youth, after opening it read the lyrics and found an interesting concept in the form of a diary of a guy who wants to be called a soldier, but really isn't one neither too brilliant.

Now to the music: The Waiting Soldier is opened by Induction, a track that starts with the sound of marching boots and almost immediately leads to a guitar solo enhanced by the band that morphs into a jazzy flute section. But from them , we can expect almost anything, the band performs frenetic passages interrupted by soft melodic passages where the keyboard and vocals remind me of PINK FLOYD but with an aggressive side.

Public Enemy is a delightful heavy Prog song with s a strong melody and radical changes that go from oneiric and atmospheric moments to powerful explosions of sounds. The radical changes are delightful and the vocals remind me again of Pink Floyd. . Kites to Sky is a beautiful tune with the charming voice of Nora Sigl who creates a naive atmosphere that fuses perfectly with the dramatic guitar solo and the nostalgic feeling that the band provides. Tender song in contrast with the frenetic end experimental Doubts that brings ALAN PARSONS PROJECT to my mind, but only for a moment, because the operatic section (with a tenor's voice) and the vibrant flute finale blew my mind. Really exiting.

The Night is the longest track of the album and BLANK MANUSKRIPT explore places they never visited before, too hard to describe and words can only ruin the experience of guitar solos, lush keyboard passages and vibrant rhythm section with dramatic changes..:Better to listen it without having a hint of what's coming,

The album ends with Conclusion and Cloud, the first one, my favorite song, because somehow comprises all the story in one song that again has a bit of everything for the pleasure of Prog geeks like me. Cloud on the other hand is a collection of sound effects that in my opinion shows the chaotic state of mind of the "Waiting Soldier"

No problem with the rating, The Waiting Soldier is at least as good as A Profound Path, which received 5 stars from me, so have to go with the same rating.Review from Progarchives.com

 Songs / Tracks Listing
1. Induction (6:09)
2. Public Enemy (5:42)
3. Kites to Sky (2:54)
4. Doubts (3:45)
5. The Night (9:17)
6. Conclusion (5:07)
7. Cloud (6:36)

Total Time 39:30

 Line-up / Musicians
- Dominik Wallner / Keyboards & Vocals
- Alfons Wohlmuth / Electric Bass & Guitar, Vocals
- Manuel Schönegger / Baritone Sax, Trombone, flutes, Electrc Guitar
- Klaus Ackermann / Drums, Percussion
- Jacob Aisleitner / Alto Sax
- Peter Baxrainer / Electric Guitar
- Georg Dürnberger / Vocals
- Helüt Mulbacher / Electric Guitar
- Cecilio Perera / Electric & acoustic Guitar
- David Saudek / French Horn, Trumpet, Vocals
- Jakob Sigl / Cloud /Sound FX
- Nora Sigl /Vocals

Anima Mundi - Jagganath Orbit (2008)

For those who are not familiar with this band called Anima Mundi, well let me tell you that first of all you will be surprised because they are a band from Cuba, nowadays it is not common to hear a prog band from that part of the globe, so that simple fact led me to discover the band few years ago when they released their first album entitled "Septentrion", which was a symphonic (with hints of Neo) prog album with a very original and unique style due to the predominant use of bagpipes, and vocals in Spanish.

Last year (2008) they at last released their second album, an album which I was really looking forward to listen to, and whose sound is different from their Septentrion sound, here we will find some different things and nice surprises. The name of this record is "Jagganath Orbit" which is produced by Roberto Díaz, leader of the band and a very nice person who I've been in contact with, the running time is over 65 minutes of great music divided in 7 tracks.

Jagganath Orbit kicks off with the longest song of the album, which named "We are the Light" is reaching almost 18 minutes, and a track that shows the band's step forward and their new sound. It starts with a melodic and spacey background, some piano here and there and other noises, after the first minute keyboards enter along with drums and the other instruments making a clear 90´s symphonic sound ala Spock´s Beard in some moments, then, vocals enter and this was my first surprise, they decided now to sing in English, they do it and sound good, but I personally prefer bands singing in their native language. There is a great instrumentation I like a lot the background during this epic, there are also a sitar sound and some nice guitar riffs. The song has some comes and go's, small musical changes inside it, a predominant keyboard sound and a great progressiveness. The second half of the song has some acoustic guitars and a calmed rhythm, it is not the bombastic keyboard sound, it is more melodic. But then, the initial style returns and the rest of the song continue like this.

The second track is "The Awaken Dreamer in the Soul Garden Dreams the Flower Planets", a long name to a shorter song that has a mid tempo rhythm with some guitars, and after a few moments it turns into a softer and calmer song, with synth effects like the sound of air and a spacey feeling inside it, an instrumental song, another nice surprise.

"Toward the Adventure" has some synth effects that make me feel like being walking in an unknown place, then the song becomes stronger with the help of guitars and other instruments, this time the vocals return, this track is very good but not my favourite though I enjoy the changes they do during the song.

"There's a Place not Faraway" keeps the same line of the previous song, I mean the musical direction and style is very alike, even the running time of both songs just have a one minute gap, the vocals sound very sweet in moments, and the guitar solos with a constant drumming sound and of course the keys as background make this a very good song, though a bit catchy, but it does not lose its essence.

Suddenly, you may thing the same song its running but actually there is a new track, the title track "Jagganath Orbit" (In the Orbit of Love) that lasts 11 minutes with again some time and mood changes through it, but following the same album's style, I mean there are some moments on the song that reminds me to previous tracks, in other words I believe there are some repetitive or unnecessary moments, though the song as a whole is very good actually.

The next song "Rhythm of the Spheres" starts with a didgeridoo sound, then keyboards and small changes, then guitar and drums, and then again some softly and well placed keyboard sound, I have to admit that in some moments the reminded me to Flower Kings, well, the song structure is always building up something, so you can be there listening to the track and enjoying what you are listening to, because the music maintains you there, expecting something. After 5 minutes, the song makes a little stop, those spacey effects and noises appear again. Some minutes later the song changes again, and due to some great sounds they produce, in my opinion the song is becoming better and better through the minutes. Probably my favourite track of the album, beautiful.

And finishing, we have "Sanctuary", the last 5 minutes of the album are filled with nice symphonic prog, and honestly this again reminds me to TFK, nice song anyway.

There is a point that I noticed since the very first listen, because I believe it's obvious, and it is the lack of bagpipes, I mention this because in their first record what made me love the band was their unique and original use of bagpipes in their music, I must admit I missed it a lot in this album.

Jagganath Orbit, is a very good album actually, it does not matter if they changed their sound, I believe the production is great and their new musical style is good as well, I like the album very much and I consider it is very complete and consistent, though right now I still prefer the Septentrion sound, I am also pleased with Jagganath Orbit, and since now I am looking forward to their next release. My final grade, 4 stars, take a look to the Caribbean prog, there are worth listening bands. Review from Progarchives.com

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

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

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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

XII Alfonso - The Lost Frontier (2006)

XII ALFONSO's story dates back in 1988,when they were found in Bordeaux by Francois and Phillipe Clarhout,Stephane Merlin and Laurent Cindicq.Between 1988 and 1992 they wrote exclusively instrumental music and they even recorded a concept album around Marco Polo's life.In 1993 they recorded their first single ''Costa Brava coast'',before visiting Scotland and UK and being influenced by the ruins of Hadrian's Wall in the town of Haltwhistle,they decide to create a concept album related with this theme.With the help of several musicians (among them Mickey Simmons and Dan Ar Bras) and singers and despite the line-up problems,XII ALFONSO release ''The lost frontier'' in 1996.

The music is pretty much laid back with scarce electric outbursts and mostly relaxed themes with an intense Celtic flavor.Their sound is pretty diverse and varied in these 16 short compositions,going from melodic electric passages to piano-based instrumentals and light keyboard-driven symphonic introductions.There is a heavy OLFIELD-ian atmposhere dominating the album with all these different instruments and influences mixed together in a generally soft progressive package.Actually the guitar work (and not only) reminds me of MINIMUM VITAL,though in a much more melodic presentation.What is quite clear are the strong doses of pleasant Celtic melodies (with some fine blending of acoustic parts with accordeon,pipes and flutes) and the tons of elegant acoustic guitars,trying to create a nostalgic climate.Notice also the ethereal female vocals,which are one of the highest points of this release.

Lovers of electric sounds will be pretty much dissapointed by ''The lost frontier''.However,both fans of MIKE OLDFIELD and laid-back but almost symphonic music will propably like this a lot.An interesting first step for the band. Review from progarchives.com

Songs / Tracks Listing

1. Hadrian's wall overture (5:08)
2. Hello you (4:18)
3. Mist (5:06)
4. Minstrel's tale (8:27)
5. The ghost's song (4:03)
6. Lazy day in Haltwhistle (3:32)
7. Back to Northumberland (3:33)
8. Edges of empire (2:29)
9. Diving into the coal womb (2:29)
10. Breathing, scarcely (5:49)
11. Wheels of change (4:58)
12. Another day in Haltwhistle (2:17)
13. Heath (5:14)
14. Revival (3:50)
15. Thirteen winds (5:06)
16. Anthem (4:48)

Total Time: 71:07 

Line-up / Musicians

- Philippe Claerhout / guitars
- François Claerhout / keyboards programming
- Stephane Merlin / keyboards
- Caroline Lafue / vocals
- Mickey Simmonds / keyboards
- Laure Oltra / texts
- Bernard Auzerol / bass
- Laurent Dupont / bass
- Dan Ar Bras / guitar
- Thierry Volto / drums
- Caroline Monteil / flute
- Laurent Sindicq / bass
- Thierry Moreno / drums, percussion

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XII Alfonso - Odyssees (2000)

My opinion is that french band XII Alfonso is half-decently covered and rated...

Under the Claerhout brothers (displaying guitar and keyboards mpain input), they have achieved all along their five recordings a high level of musicianship and integrity, if not total originality. Unlike most of the french progsters, there's no Zeuhl or Ange's clone to be found, rather a stylistically inclined link to celtic and other western part of France traditions. So it's accurate to feel some ressemblances with Mike Oldfield and Camel for instance. Folk ingredients, few delicate songs in and overall instrumental work, musicianship devoted to the melody more than performance, attention to the general climate of the whole recording are qualities XII Alfonso share with their most famous british counterparts. While the two brothers form the core of the group, there is a lot of instruments and a long list of guests to be found on any of the records, so, if i choose Odyssées over any of the other records i enjoy equally, it's because of his immediate appeal, his perfect production, and within his 70 + minutes (which is the norm for them) a perfect summarizing of the seduction of XII Alfonso.

Symphonic for sure, the music clearly comes from classically trained musicians, and yet one can feel the energy inherent to rock idioms, in rythms and development. Clever they are for sure as well: any of the records benefits of the cohesion of a unique thematic path, based on artistic or historic topic. For "Odyssées" it is to be found on the great achievments of human mankind. The opening, with over 7 minutes in time, takes us on a space journey, portraying the american lunar missions of the 70's, mixing an array of synths with the recorded sounds of the the astronauts, alternating spacious sounds with rythms pulsations creating a captivating sense of motion. "Lythophonia", at the other end, takes us back to the beginnings, offering what could be the music of the cavemen. "La Révolution des oeillets" finds us aboard the first vapor machine trains; if not revolutionary in treatment, the idea of the railroad horsepower pulsing gives this other long piece a very efficient sound over which a nice guitar soloing trade licks with an effervescent acoustic piano. "Larrey"is a tribute to one of the first surgeons to bring medecine up to the front, during Napoleonian wars, and so on.Otherwise while the music is cleverly arranged and produced , there are a lot of small musical interludes, solo acoustic guitars ala Steve Hackett, peaceful piano, sparse songs with mostly female guests on vocals. A captivating while dreamy result that truly reach deeply into my musical soul...

Overtly recommended for those who enjoy the aforementioned artists, Anthony Phillips' work and most simply stated intelligence and subtility in art over raw energy or performance. Give me five! Review from Progarchives.com

Songs / Tracks Listing 

1. Eclipse (7:26) 

2. Odyssée (5:58) 

3. Lithophonia (3:09) 

4. Message 95 (4:15) 

5. Tomorrow (1:43) 

6. Où Vont Les Amants? (7:43) 

7. La Révolution des Oeillets (8:25) 

8. Nil (2:56) 

9. Invisible Links (part 2) (4:30) 

10. Tout Passe (4:35) 

Bonus tracks: 

11. Noria (5:07) 

12. Le dernier voyage (2:11) 

13. Dominique Larrey (8:26) 

14. En Castille (live 10/10/98) (4:40)

Line-up / Musicians 

- François Claerhout / keyboards, programming, lithophones, rainstick, jaleos, percussion 

- Philippe Claerhout / vali, acoustic & electric guitars, bass, lithophones, vocoder, keyboards, Chapman stick, kora, balaphone, e bow, percussion 

- Laurent Dupont / bass 

- Laure Oltra / lyrics, voice 

- Judith Robert / vocals 

- Antoine Tome / vocals

- Stéphane Rolland / electric guitar 

- Michael Geyre / keyboards 

- Thierry Moreno / musical glasses, drums, percussions, lithophones

- Philippe Rougé / lithophones, flute 

- Stephane Merlin / keyboards

- Bernard Ozerol / bass 

- Sandrine Rougé / vocals 

- Mickey Simmonds / keyboards 

- Dan ar Braz / electric guitar 

- Julio Presas / electric guitar, bass, vocals 

- Tito Correa / lyrics

- Lionel Gibaudan / bass 

- Stephane Barrincourt / electric guitar 

- Jean Luc Payssan / mandolin, bass pedals (14) 

- Thierry Payssan / organ (14)

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Renaissance - Ashes Are Burning (1973)

How come these guys are a progressive rock band, and some of these songs stretch to over 10 minutes, but it never seems like standard progressive rock, or at least the typical assumption of your generic prog band? Oh, maybe it's the fact that, even with having just six songs on the album, it still feels like a truly captivating landscape, and how their flights of fancy are always augmented by truly ingenious melodies.

I'm getting ahead of myself, which is a shame, because my head's been in a trip for the past half hour or so. This is some damn good music, no matter what you call it, and even if that's a subjective opinion, I don't care. These melodies actually speak to me, and in the land of pomp, pretentiousness, and side-long jams that don't go anywhere (Here's looking at you, Gates of Delirium), there's a lot of rich subtlety, here. the album starts off with a really whimsical, tantalizing display of pianos rocking your boat with Haslan's superb singing abilities. Now, if you're reading a Renaissance review, you're sure to have heard of this woman's vocal prowess, and I can't help but play into it, because she IS a vocal maestro, and it really adds a heap of necessary charm to the world that Ashes Are Burning tries to create.

Not a single song, no matter the length, falls off into the realms of boredom. No, this is one even record, if there ever was one. It's kind of like a beautiful, angelic yin to Jethro Tull's rough, dirty yang. They play a lush, poppy style of intricate progressive folk, which makes these yokels a bright contradiction in my book. I love contradictions, especially Let It Grow, which is simply put, a lush pop masterpiece. The main melody is awe-inspiring, and how it morphs at the very end, and actually grows on the theme, is an essential journey for any discerning music lover to take. It's just really fantastic, I don't know what to say. The vocal chanting at the end rules me, I'm at this song's proverbial beck-and-call. That isn't to say the other songs aren't good. Holy elfin smoke grenades, this is a mystical album, and it's honestly, sincerely pretty, the whole way through. So many folk style instruments run together to form breathtaking aural landscapes, and they all ride under the winds of miss Annie's cherubim fawning.

Carpet of the Sun is another phenomenal, succinct song, with harmonious string accompaniment, but who cares? Prettiness! Subtlety! The gorgeous singing! I'm floored, I really am. Why are there so many memorable melodies? Like the grand piano introduction to the Harbour, that makes me drift off to an old shore bar, someplace, with ships sailing in to the dock on the horizon. When I hear this I can almost feel the ocean breeze twirling through my hair. By the way, I've got really long hair. How is that pertinent to this review? It isn't! Gee, aren't these songs immaculate? Now, this album isn't perfect. What album is? Sometimes the songs don't really jump out at you, and the diversity isn't much anywhere to be found, exactly. It's all a pretty similar trip. I'm nitpicking, though. It's a vastly memorable trip, and the whole record bubbles over with angel chorus prettiness and nectarine serenity. Or, it's just great music. Maybe the title track goes on for a bit too long, but it's all so beautiful anyway, that it doesn't matter, not one bit.

Speaking of said album title closing track, I don't give a rat's behind if it's twelve minutes, it's worth that, and more. A plethora of progressive bands tried making songs that stretched all the way to next week, and most of these were usually done for the sake of length and sprawl. This, however, has a majestic build up that has to be seen...er, heard to be believed, with sweltering solos from all the different instrumentalists, culminating in the entire album's climax in one of the only electric guitar solos, and it rocks hard. I do think that some of the passages could have been trimmed from the first and last songs, and it would have effectively poised the album as a more economical affair, but let our sugary sweet angels spread their wings a little, mac. They never did nothing to you, did they?

I can't help myself from spewing epithets like "pretty" "beautiful" "gorgeous", and "just friggin' great!". Ashes Are Burning is this, and more. It's downright romantic and bashful, without being shy. That's another contradiction for you, so stuff it! These melodies are gargantuan, though, even from the small touches like the organ solo in the middle of the album closing title track, or the sheer breadth of sound the band attempts to take on, succeeding all the while, with passionate piano/acoustic guitar interplay, wrapped in Haslan's silky sweet cooing. Stop me right now, and get this album. It's a shimmering winner. And... for you folks out there with a prejudice 'gainst women vocalists....go suck your damn Iron Maiden or something, I'll take my beauty with extra sugar, please. RENAISSANCE Ashes Are Burning music review by Alitare

Songs / Tracks Listing

1. Can you understand (9:49)
2. Let it grow (4:15)
3. On the frontier (4:53)
4. Carpet of the sun (3:31)
5. At the harbour (6:50)
6. Ashes are burning (11:24)

Total Time: 40:42

Line-up / Musicians

- Jon Camp / bass, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards, backing vocals
- Michael Dunford / acoustic guitar
- Andy Powell / guitar (6)

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Solstice - New Life (1993)

Solstice is not a very prolific band as they have recorded only four studio albums throughout their 30 year existence (including the most recent one being released this year). Formed in 1980, this British band is basically a one-man project with the only constant member being guitarist and composer Andy Glass. This does not mean that this is a one-man show, however. The people Glass has around him here are as competent as he is and the sound is that of a full band rather than a guitarists' solo album. Apart from electric guitars, violin, bass, drums and female lead vocals are omnipresent. There are also some keyboards, but they are never to the forefront of the sound.

New Life from 1993 is the second Solstice album coming almost ten years after their debut from 1984. You might see this as a result of putting priority on quality over quantity, or you could see the band as a victim of the unfavourable climate for progressive music in the 80's and 90's. Whichever way you see it you cannot accuse Solstice of compromising their musical vision for popularity, as neither the present album nor the debut sound anything like products of their time. Rather, they have opted for a rather 'timeless' sound that clearly draws on the classic Prog-era without coming across as 'retro'. Like with the debut, bands that come to mind while listening to New Life are Renaissance (primarily from the latter half of the 70's), Yes (in their more 'relaxed' and less complex moments) and perhaps Kansas (in their less hard-edged moments). The Mike Oldfield similarities that were evident on the debut, on the other hand, seem to be somewhat relaxed here in favour of a more Dixie Dregs-like approach on some passages. In some respects this second album by Solstice is even better than the first one; it has a slightly more powerful guitar and drum sound and the voice of new lead vocalist Heidi Kemp is not as distractingly similar to that of Jon Anderson compared to Sandy Leigh who sang on the debut. But overall, I find this album slightly less enjoyable and less memorable than Silent Dance. But New Life is still a very enjoyable album that I'm sure will please anyone who liked the debut.

Other things that strike me while comparing the two albums is that the sound of New Life is less diverse; it has less acoustic guitars, less keyboards and less 'exotic' elements. Also, the bass guitar is a bit less powerful here. The songs on New Life are not incredibly complex, and while this is hardly easy-listening it might perhaps appear as such if you just came from listening to Yes' Relayer album or some intense and complex Jazz-Rock/Fusion. If you like Silent Dance, New Life is recommended for sure - a good companion to that first Solstice album. SOLSTICE New Life music reviews and MP3

Songs / Tracks Listing

1. Morning Light (3:46)
2. Guardian
(10:41)
3. The Sea (6:52)
4. New Life (4:54)
5. Pathways
(5:04)
6. Journey (10:03)

Total Time: 41:20

Line-up / Musicians

- Andy Glass / guitar, programming,
backing vocals
- Marc Elton / violins, backing vocals, keyboards
-
Heidi Kemp / vocals
- Craig Sunderland / bass
- Pete Hensley /
drums

Solstice - Pathways

Solstice play New Life for HRH The Queen

Solstice - Morning Light

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Focus - Moving Waves (1972)

This Netherlandish progressive masterpiece is one of the most hard rock progressive album made during that era: indeed Jan Akkerman's incisive and razor electric guitars are omnipresent: pure hard rock solos a la Led Zeppelin, and barely less timid aggressive riffs. The drums are restless, very complex and fast. The keyboards mostly consist in organ, mellotron, piano and harmonium. The intensely yodeling of Thijs Van Leer on "Hocus Pocus" is LEGENDARY: you are going to want to sing it! "Le clochard" has a beautiful floating mellotron in the background and impressive & relaxing acoustic guitar parts that should impress Steve Hackett himself. The peaceful and rhythmic "Janis" contains mellow flute parts a la Camel. The lead vocals on "Moving Waves" remind me early King Crimson. "Focus 2" is an OUTSTANDING very progressive track: Jan Akkerman "dances" with his melodic electric guitar: it seems that the other instruments follow his partitions, creating very structured and pleasant melodies through rhythm & air changes.

On side 2, the epic "Eruption" is a REAL progressive masterpiece, sometimes comparable to Jethro Tull's "Thick as a brick": the same organ sounds, tons on drums, very melodic bass, straightforward hard rock electric guitars; there are some intensely floating mellotron & backing vocals parts; there is a part which was composed by the Netherlandish fusion band Solution, coming from the "Divergence" album; there is a poignant & melodic piano part, accompanied with electric guitar and flute; the drum solo is absolutely impressive, having a bit the Neil Peart's style.

HIGHLY RECOMMENDED! FOCUS Moving Waves music reviews and MP3

Side 1
1. Hocus Pocus (6:42)
2. Le Clochard (2:01)
3. Janis (3:09)
4. Moving Waves (2:42)
5. Focus II (4:03)
Side 2
6. Eruption (23:04)
-a) Orfeus, Answer, Orfeus
-b) Answer, Pupilla, Tommy, Pupilla
-c) Answer, The Bridge
-d) Euridice, Dayglow, Endless Road
-e) Answer, Orfeus, Euridice

Total Time: 41:41

Line-up / Musicians -
Jan Akkerman / solo & acoustic guitars, bass
- Cyril Havermanns / bass, voices
- Pierre van der Linden / drums
- Thijs van Leer / organ, Harmonium, Mellotron, soprano and alto flute, piano, voices

Focus - Moving Waves

Focus - Tommy

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Focus - 8

25 years without hearing from Focus except from some compilations and then here we are presented with Focus 8. Its absolutely wrong to say that the brand name Focus was "used" for comercial advantages. Focus 8 is not about revival of a Dinossaur for the sake of the money. Its about a mans passion for music, Thjiis van Leer has this passion. This album has Focus writen all over it. For historical reasons most of oldtime Focus compositions and harmonies was made by Thjiis van Leer. Yoddling, handclaps, flutes and lots of wonderful Hammond riffs fill this recording to the rim, and all oldtime Focus fans can easily reconcile with Focus. As for the line-up, Jan Dumeé replaces the other Jan (Akkerman) with grace and many die-hard fans did recognize the fact that Akkerman was dispensable. Dumeé dd a wonderful job on the guitars, carrying Focus to a new dimention giving Focus the magic that fans always loved; Hammond-Guitar tunes blending jazz and classic music with a Rock approach that characterize Progressive Music. Bobby Jacobs fills in with quite powerful bass lines as in "Rock And Rio"and sometimes delicate as on "De Ti O De Mi". Drumming is executed just as Pierre van der Linden did in old Focus. Bert Smaak is perfect in most of his lines, maybe a bit too "heavy" on the more powerful tunes. Rock and Rio is a hard rock version inspired probably on Hocus Pocus, Tamaras Move has Focus III and House Of The King elements, Fretless Love has downgeared Sylvia cords. Hurkey Turkey is fresh and mingles Rock and Jazz with wonderful guitar and Hammond tunes in perfect harmony. The Title Track mellows out a bit with smooth guitar on piano and bass layers. Sto Ces Raditi...has absolute brazilian rythms with flutes, accoustic guitars as intro, where the song evolves to a bossa nova where the band seems to have a cool time enjoying the tune. Neurotika is another hard prog tune with lots of energy again with Hocus Pocus inspiration. Brother is a blues inspired tune executed first at a mellow pace, but builds up to high energy performance, again with a superb Hammond undertone. Blizu Tebe is the follow up of Brother, mellow and relaxing with unbelivable guitar playing by Dumeé. Flower Shower is the last tune of Focus 8 and believe me, its hilarious ! a minuette which demostrates that Focus dont take themselves too seriously. Its a "must have album" by those who really love Progressive Rock and needs to get away from mainstream revivals of dinossaurs. FOCUS Focus 8 music review by sclemche

Songs / Tracks Listing 1. Rock & Rio (3:27)
2. Tamara's Move (5:17)
3. Fretless Love (6:08)
4. Hurkey Turkey (4:15)
5. De Ti O De Mi (6:30)
6. Focus 8 (6:19)
7. Sto Ce Raditi Zwota (5:26)
8. Neurotika (3:47)
9. Brother (5:39)
10. Blizu Tebe (6:38)
11. Flower Shines (5:41)

Total Time: 59:07

Line-up / Musicians - Jan Dumée / guitars, vocals
- Bobby Jacobs / bass
- Thijs van Leer / Hammond organ, flute, vocals
- Bert Smaak / drums

Focus - Neurotika


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Focus - 3 (1973)

With the release of the bands third album in 1972, Focus accomplishes a massive achievement for symphonic progressive rock with a double LP that reveals the real musical potential of the band. The music that radiates from this work of art speaks loudly, incorporating a wide selection elements within itself that make it impossible to pinpoint the brilliance of the music to one single aspect. would seem impossible to believe that 4 musicians with ordinary rock instruments could produce such richly textured music. With these ordinary instruments they manage to compose music that, when listened to briefly, causes no deep impressions. However, if listened to attentively, it is possible to extract a wonderful mixture of talent, creativity and spontaneity.

For this album, the band eliminates lyrics completely, allowing themselves to focus on instrumental elaborations, and long, colorful jams. The lyrics, as in most cases, change a songs dynamics, given that they cover up the instruments, attracting a spotlight to the words that forces the instruments into second hand. Without the limitation of lyrics, the music was set free in a sense. But it is not solely the absence of lyrics that makes this album deserve attention . This so called musical freedom allows underlying aspects to rise above ground into the deserved spotlight, unleashing all the instrumental power that the band could muster into a beautiful symphony that transpires loads of musical feeling, exploring a variety of musical universes and emotions. Another fundamental thing that must be spoken of when this LP is mentioned, is how well the musicians are tuned in with each others wavelengths. It feels as if they were all aiming for the same musical target, and with the clear skill and dedication that each composer possesses they easily hit the bulls-eye. For each fragment of each track, the instruments seem perfectly teamed up with each other to produce those heroic, happy, catchy, beautiful and wonderfully harmonic, point and counterpoint melodies, that Focus is so famous for. This album demonstrates how they are skilled at capturing and transforming the abstract musical energy floating around their heads into a masterful sculpture.

Focus hit the right key on the organ for this album. FOCUS 3 music review by EMLonergan

Songs / Tracks Listing Side 1
1. Round Goes The Gossip (5:12)
2. Love Remembered (2:50)
3. Sylvia (3:31)
4. Carnival Fugue (6:09)
Side 2
5. Focus III (6:05)
6. Answers? Questions! Questions? Answers! (14:03)
Side 3
7. Anonymous Two (Part 1) (19:28)
Side 4
8. Anonymous Two (Conclusion) (7:30)
9. Elspeth Of Nottingham (3:15)
10. House Of The King (2:23)

Total Time: 67:09

Line-up / Musicians -
Jan Akkerman / solo & acoustic guitars
- Bert Ruiter / bass
- Pierre van der Linden / drums
- Thijs van Leer / vocal, organ, piano, alto flute, piccolo, harpsichord

Focus - Focus III

Focus - Focus 3


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Renaissance - Turn f the Cards (1974)

Through the years there have been many, many great female singers, with powerful, angelic voices, Barbra Streisand, Grace Slick, Nancy Nevins (Sweetwater), Celene Dion, Enya, and some of my current favorites, Sharon den Adel (Within Temptation), Floor Jansen (After Forever), Vibeke Stene (Tristania) and Loreena McKennitt to name a few. However, to my mind, none have ever topped Annie Haslam when she was with Renaissance. Haslam's voice had a magical quality and a smoothness that few others had. Though she had no formal training, her voice, seemed to me, to be the most perfectly pure and the the most purely pretty voice of all. Perhaps it is good that no one messed around with her voice, when you are on top, any change is downhill. But I digress too much, let's get to Renaissance and their beautiful music.

RENAISSANCE

"Running hard towards what used to be Losing ground in changes sliding endlessly Reaching out for mirrors hidden in the web Painting lines upon your face inside instead"

I'm sure many of you are familiar with them but for those of you that know little of Renaissance, let me edify you. The Phenomenon of Renaissance was originally started by ex Yardbirds, Keith Relf and sister Diane. Renaissance created a unique niche in the 70s with their exhilarating, passionate brand of progressive, neo-classical rock with historical, folk tendencies that preceded and is somewhat akin to New Age music. Although it is somewhat common today for many European and some American bands to borrow classical melodies even symphonies to be blended with rock or heavy metal, Renaissance was the first band that I can remember doing that and none, in my opinion, have done it any better. Annie Haslam is the pre-eminent vocalist of her time, with a five octave range and a compelling emotional ability to reach the listeners, she is the most important cog in the Renaissance juggernaut. But this melding of talented artists was a symbiosis, evidenced by the fact that Haslam's solo career has floundered. the members of Renaissance seemed to feed off each other and were not as good separately. The Michael Dunford-Betty Thatcher writing team intermittently produced enough strong material to keep Renaissance fans happy, and the production, while recording for Capitol, was top notch.

TURN OF THE CARDS

"Changing moods and stranger feelings In my dealings with the world Faces that I've seen before am I sure Or has my brain turned

Thinking about things I don't understand Thinking about things I don't understand"R

It's hard to believe this album is almost thirty years old, so I guess many of you reading this weren't even born yet. That doesn't mean the music is dated though, this music is like traditional architecture it gets better with age. In fact Renaissance are constantly getting new and younger fans.

With Turn of the Cards, the Annie Haslam fronted version of Renaissance changed its technique slightly and as a result Renaissance really hit its apex. After keyboard dominated albums Prologue and Ashes are Burning the band went with a more orchestral sound and their next two albums, Turn of the Cards and Scherazade excelled and became two of the greatest albums of the 70s "progressive rock" movement.

SUMMATION

For me, with Turn of the Cards, Renaisance was at their apogee. The preceding and succeeding albums were also very good and worth consideration but this album was their pinnacle. ENAISSANCE Turn Of The Cards music reviews and MP3 Review from progarchives.com

Songs / Tracks Listing

1. Running Hard (Dunford / Thatcher) (9:37)
2. I think of You (Dunford / Thatcher) (3:07)
3. Things I Don't Undertand (Dunford / McCarty) (9:29)
4. Black Flame (Dunford / Thatcher) (6:23)
5. Cold Is Being (Dunford / Thatcher) (3:00)
6. Mother Russia (Dunford / Thatcher) (9:18)

Total Time: 40:54

Line-up / Musicians

- Jon Camp / bass, vocals
- Michael Dunford / acoustic guitar, vocals
- Annie Haslam / lead vocals
- Terrence Sullivan / drums, percussion, backing vocals
- John Tout / keyboards

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Par Lindh Project - Mundus Incompertus(1997)

"Mundus Incompertus", the last PLP studio album recorded until "Veni Vidi Vici"; was released in 1997. In my opinion, this wonderful CD is the most important and interesting work achieved by PLP; it is constituted of three pieces. In the first track untitled "Baroque Impression No. 1", we can appreciate a BACH & VIVALDI intro exquisitely executed, from which the music evolves to a discharge of sounds and colors in the most intense interpretation Swedish symphonic rock has got to offer. In the second piece, "The Crimson Shield"; we can listen to the operatic voice of Magdalena HAGBERG accompanied by Pär's harpsichord. The third piece, "Mundus Incompertus"; is divided in 13 parts creating an opus composed of recurrent themes and instrumental passages. this is truly the jewel of the band. "Mundus Incompertus" is a fresh and original composition. this is what EMERSON, LAKE & PALMER should be doing if they still had a bit of creativity.

As a musician, Pär LINDH counts with a long successful career as church organist, classic pianist, solo harpsichordist, drummer, Hammond organist, jazz musician, etc. In 1977 and 1978 Pär lined up for two rock bands, but by 1979 he got disappointed about the direction pop music was heading to and decided to quit on rock music to play classic music instead. There's where he has developed himself as a recital pianist and harpsichordist until 1991, when he rediscovered a LP from ELP. Thanks to the classical formation Pär achieved during all these years is that we can enjoy the magnificent and excellent musical gems PLP offer us. "Mundus Incompertus" is an exceptional proof of that. PÄR LINDH PROJECT Mundus Incompertus music reviews and MP3

Songs / Tracks Listing
 1. Baroque Impression No. 1 (9:10)
2. The Crimson Shield (6:38)
3. Mundus Incompertus (26:43)

Total Time: 42:34

Line-up / Musicians - Par Lindh / organ, piano, harpsichord, Hammond organ, Mellotron, synths, percussion, 12-string guitar
- Magdalena Hagberg / vocals
- Nisse Bielfeld / drums, percussion
- Marcus Jderholm / bass
- Jocke Ramsell / guitars

Pär Lindh Project - Mundus Incompertus (1 of 3)

Pär Lindh Project - Mundus Incompertus (2 of 3)

Pär Lindh Project - Mundus Incompertus (3 of 3)

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Renaissance - Illusion (1970)

I borrowed an edition ("Innocents & Illusions") of the 'original' Renaissance's two albums including also some bonus tracks. The first album I had quite unsuccesfully listened already in my teens when I had just found the Haslam-Renaissance. Also that groundbreaking album finally sounded better now, but my real surprise was this Illusion. Its reviews here are mostly not very favourable but I was totally charmed. It has more folk flavour than the debut, and it has Jane Relf much more as the lead singer. Debut is perhaps proggier and has more classical references in John Hawken's piano solos, but there's no denying that Illusion is very beautiful folk-prog - even if 'Love Goes On' and 'Love Is All' are rather simple naive songs with lots of harmony vocals (nice songs anyway).

'Past Orbits Of Dust' (14:39) is to me the most boring just as 'Bullet' is in the debut. They are the most experimental but don't exactly give worth their length. Highlights here are 'Golden Thread' and 'Mr Pine' (the latter penned by Michael Dunford, key figure in the 'new' Renaissance) that beautifully bring together the prog and folk elements. The sound is full of warmth and the vocals of both sexes very pleasant throughout the whole album. (Though unprofessional Jane is naturally far from Annie Haslam's skills.) If you're not put off by naive folkish charm you'll enjoy this!

The bonus tracks (4 to this album) are so nice too that it's a miracle how they remained unreleased(?) at the time. PS. The text also gives a clear historical view on the first Renaissance and its gradual way to the other line-up. ; ) RENAISSANCE Illusion music reviews and MP3 (Review from progarchives.com)

Songs / Tracks Listing

1. Love Goes On (2:51)
2. Golden Thread (8:15)
3. Love Is All (3:40)
4. Mr. Pine (7:00)
5. Face Of Yesterday (6:06)
6. Past Orbits Of Dust (14:39)

Total Time: 42:31

Line-up / Musicians - Keith Relf / vocals, guitar
- Jim McCarty / drums, vocals
- Louis Cennamo / bass
- John Hawken / keyboards
- Jane Relf / vocals, percussion

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Earth And Fire - Song Of The Marching Children (1971)

EARTH & FIRE's "Song Of The Marching Children" falls somewhere within the song-oriented prog category. The album consists of short tracks on side A, and a larger epic on side B (my CD also came with a bonus track, but there is another CD that features SOTMC, and Atlantis). All of the tracks on Side A feature some of the best qualities found in more adventurous progressive rock, and they end up sounding like miniature epics. The side- long track sounds like 5 songs pieced together. Overall, the music from this band has a strong European symphonic sound, meaning that Baroque, classical, and even circus influences are all over the place.

The band likes to weave in and out of major/minor chords and scales, so the music alternates between happy and sad moods. I also hear a noticeable early KING CRIMSON sound (heavy on the orchestral mellotron sound). EARTH & FIRE had a female lead-singer with one of the warmest, and charismatic, voice that I've heard in prog. She is usually mentioned first when people talk about the band. Some of her lyrics are silly in a surreal, counterculture, sort of way, but her beautiful voice quickly makes you forgive the naive lyrics. This is a majestic album that will please fans of early KING CRIMSON, PFM's "Per Un Amico", and FANTASY. EARTH AND FIRE Song of the Marching Children music reviews and MP3 ( Review from  Progarchives.com)

This album is generally pointed out by progheads as E&F's peak and I agree somewhat with them but as you can see by my rating , this is hardly the Everest , more like a foothill in Progressive Rock Mountains Range. E&F is one of those many Dutch band that obviously listened to a lot of classical music before starting a rock band (Focus , Ekseption , Trace etc..). The problem with that is that I see a great lack of originality/personality in those bands (Focus excepted) and prefer groups such as Supersister , Finch or Golden Earring . Since Holland is where I live during the week , I feel particularly con cerned to give a proper review and explain well why I appreciate a band or not.

E&F has one beautiful female vocalist that sings in accent-less English (as is often the case with the Dutch) sometimes brilliantly but at times also very annoyingly/irritatingly. The main thing about this album I would suggest here is that too much mellotron kills the mellotrons effects and here this is a lot more of an orgy ....... more like an indigestion. Use and abuse , where does one draw the line?!?! Well , it is not clearly drawn out but IMHO we are over the line by a few miles... If I was a music instrument dealer , I would use this album to clients as a sales brochure for the full spectrum of the capabilities of the instrument. But too much is toooooo much....

Side 1 is full of reworking the classical music and is rather tedious and sometimes sound like a third rate Focus or a second rate Ekseption, filled with mellotrons layers. Side 2 holds the side-long suite that gives its name to the album and is relatively pleasant with interesting KB lines (other than mellotrons that is) even though there are lenghts (the long March as pointed out heavily by the drumming) and the facts that there are borropwed themes (heard elsewhere). I just find it very much over-rated as much so thant the other side-long suite of the following album Atlantis. EARTH AND FIRE Song of the Marching Children music reviews and MP3 ( Review from  Progarchives.com)

Songs / Tracks Listing

1. Carnival of the animals (2:42)
2. Ebbtide (3:06)
3. Storm and thunder (6:25)
4. In the mountains (3:00)
5. Song of the marching children (18:20)
...a) Theme of the marching children - 2:20
...b) Opening the seal - 1:10
...c) Childhood - 3:10
...d) Affliction - 1:30
...e) Damnation - 2:53
...f) Purification - 4:17
...g) The march - 3:02
Bonus tracks on Polydor cd release:
6. Lost forever (2:48)
7. Invitation (3:50)
8. Song for the marching children (single version) (4:08)

Total Time: 44:28

Line-up / Musicians

- Jerney Kaagman / lead vocals
- Ton van de Kleij / drums, percussion
- Chris Koerts / guitar, backing vocals
- Gerard Koerts / organ, piano, Mellotron, backing vocals
- Hans Ziech / bass

Earth and Fire - 05 - Song of the Marching Children [1 of 2]

Earth & Fire - Lost Forever

Earth and Fire - Storm and Thunder (better quality)

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