Untitled Document

The Flower Kings are now back in double cd territory (their third double studio album) and bring us the much anticipated follow up to the excellent 2001 release, The Rainmaker. The album is a whole new ball game in terms of diversity and complexity, a truly ambitious and adventurous project of epic proportions. It's one of those records that takes play after play to fully digest, a mammoth 140 minutes, for the small nuances and subtle melodies and time changes to become easy on the ear. The sheer depth, purity and attention to detail is immense and I believe the FK to be at least on a par with any of the current bands serving the genre of progressive rock. Intricacies and time signatures dominate the music as well as an abundance of fusing elements. The Rainmaker's often ELP excursions are replaced by a more 70's Classic Rock feel, supplemented by the grandiose albums 'Relayer' and 'Close To The Edge' - Yes at their brilliant best. Added to this, influences from the jazz world, blues, Canterbury, Latino, Classical, African rhythms, but the underlying feel, sound and dynamics are undeniably The Flower Kings own.

Line-up wise, it's the same as on the bonus cd on the limited 'The Rainmaker' cd with Zoltan Csorsz officially debuting on drums. A number of guest musicians enhance the overall sound, namely Daniel Gildenlow ( Pain Of Salvation ) on backing vocals, and the frequently used Ulf Wallander on tenor sax and Hasse Bruniusson, orchestral percussion. Hasse Froberg is also used at least on a par with Roine Stolt in the vocal department. The bass-lines of Jonas Reingold are more defined and upfront, Squire-like runs leading many of the musical passages. There also seems a whole new varied approach to the percussion, and I believe more of a whole band collaboration, expression and tightness to the sound. UTF, whilst not a concept album in the traditional sense, RS describes the album's internal thread: 'The songs are about the difficult procedure of finding one's self and inner balance in a world of loud media'. The way outside influences indeed help to map out and sometimes detract or enhance the focus of people's lives. Structurally, the album centres around the two epic opening and closing tracks, 'The Truth Will Set You Free' ( 30:40 ) and 'Devil's Playground' (24:30 ). Sandwiched between these a vast 14 tracks covering a variety of styles, lengths and sub-genres.

Opener TTWSYF is a true rock opus that effortlessly emulates the progressive greats. A crescendo instrumental, multi-layered beginning, bristling into some smooth keys and guitar synths, African rhythmic percussion and monumental bass-lines. RS's expressive, varied Gibsons solos always at the forefront, contrasting Tomas Bodin's fragile Mellotron, Hammond and synth textures. The track meanders through mesmeric, dramatic melodies and time changes into a masterful main chorus, with HF's emotive vocal lead. Atmospheric and yet so subtle, bombastic and mellow, symphonic and spacey, glorious echoes of light and shade. A multi-sectioned classic that weaves like a tapestry, interplay reminiscent of Howe / Squire at their creative best. Also, great contrasting vocal styles and harmonies and a trademark acoustic, down-tempo section and building instrumental outro. A sure-fire future FK classic in pure, historic progressive vein and superb opening to the album.

The other epic, Devil's Playground is whole more darker and experimental affair. RS describes it to have 'Zappa-like basic thread'. More up-tempo in style, more freedom of expression, the boundaries of rock are clearly explored to the limit. Orchestral sections, dense and dark melodies, haunting backing vocals, massive saxophone solos, marching drumming section with penny whistles. Also, massive instrumental breaks, with the guitars as cranked up and as varied as I have heard from RS. Loads of Hammond, deep bass-lines, wah-wah guitar supplement an off the wall jazz-tinged section. The main vocal line is repeated in varied styles throughout. Not as fluid as the first track, but one to persist with to unveil the complex details within.

Other favourites of mine at this early stage are the multi-faceted 'Silent Inferno' with it's dramatic and cinematic feel. Again crossing styles and tempos there's a subtle sense of mystery in the playing and some virtuoso, expressive soloing. Also, some of the shorter songs are great ear candy. The simple, fragile beauty of 'The Navigator' with vocal over harp and sultry Mellotron. The delicate, wispy harmony-tinged 'Vox Humana', so easy on the ear. The gentle twisting melodies of 'Man Overboard' and the majesty and grace of 'Solitary Shell' with it's emotive, poetic storytelling. Just to describe the other tracks: A relentless Led Zeppelin slant washes over the haunting 'Rollin The Dice'. Expressive vocals and a massive bass riff dominate the track. Soprano sax and Latin percussion accompany mellow vocals on the silky smooth 'Grand Old World'. TFK go all experimental and improvised on three of the tracks. 'Christianopel' and 'Soul Vortex' sound like a weird, spacey, instrumental jamming session. Tension building, jazzy and psychedelic, maybe an idea from the Transatlantic recordings, but definitely a detour for the band. 'The Devils Danceschool' combines frenetic drumming with jazz rhythms and trumpet and keyboard sounds. Also, the more rockier and up-tempo 'Genie In A Bottle', the groove-based and racing 'Fast Lane', the hard rocking 'Monkey Business' with it's symphonic passages, and the mellow, slightly bland and circus feel of 'Black And White' complete the track listing.

The most diverse and accomplished album yet by TFK but be prepared for a long haul. More details and small touches are revealed with every play. Just rush down to your local store and buy then let the future unfold. A classic album released in Special Edition in deluxe packaging, with the bonus track 'Too Late For Tomatoes', thanks once again to Inside Out Music. (I.D.)

PETER BANKS – CAN I PLAY YOU SOMETHING (UK VP 02)

Just got a re-issue at mid-price this is a stunning collection of pre Yes psychedelic come freakbeat tunes from Peter Banks. Most of the tracks come from his pre Yes incarnations of The Syn and Mabel Greer’s toyshop. For a number of years now some if not all of this material has been around on old bootleg vinyl from “Freakbeat Freddy” who use to sell on our local record fair scene. This hour’s worth of music is a collection of demo, radio version or general outtakes; musically it’s a trip from the UK finest underground sound, 22 tracks of acid drenched psychedelic delight. I think I should add a small note on the sound quality, if you are a serious hi-Fi buff stay away, there no 64 track re-mastering here, its raw and basic sound just adds to the appeal. There’s a crazy version of Peter Gunn, The classic freatbeat tune Flowerman and so much more. After several listens I am finding new sides to each tune. The CD should appeal to Yes collectors purely as an add-on to their collection, esp with its direct connection with PB and Chris squire here. But the real home for this is in the legions of collectors out there who search high and low to find UK psychedelic nuggets from some far gone age which is now fast approaching its 40th birthday!

Rick Wakeman – Live (UK VP 02)

Maybe a little late in its outing this CD as this was actually recorded in 1990 on the then acclaimed return-to-form tour for Rick. 5 tracks over 50 minutes find him at a more entertaining time in his solo career. Opening with Catherine Parr, followed up with Elizabethan Rock, Make me a woman, Anne Boleyn and finally Journey to the centre of the earth. All are played with a warmth and passion which had seemed to be lacking in much of the solo live offering Rick at done previous to this time. The sound quality on these live recording is stunning and find the crowd reacting well but not intrusive in the listening. The packaging could be more informative and extended I failed to find where these recordings where made other than the press offering of 1990 (which I had worked out from the track listing) and with the helping hands of David Paton and Ashley Holt. After the much acclaimed and respected outings Rick Wakeman has made with Yes recently this has again highlighted the quality in his solo work, and with this live CD should again see more people paying attention to work, which for me has been for too long overlooked.

KING CRIMSON - HAPPY WITH WHAT YOU HAVE TO BE HAPPY WITH

(UK SAN 02)

King Crimson have always been at the fore of the more intelligent side of progressive/art rock and on this a 11 track (34 minute EP) stay true to their eclectic and challenging blend of muso rock. Incredible talented and in need of no introduction to anyone who is familiarly with the world of prog-rock. After 3 decades of issuing music KC are again issuing music which is as musically diverse as ever before. These tracks mark a direction in sound to a heavier almost industrial noise on the title track HWWYHTBHW and Larks Tongues while sliding back to more familiar ground with other numbers in Mie Gakure, I Ran, and my favourite here Potato Pie. Its hard to explain the importance Fripp & co have had on the world of progressive rock for 30 years now, what they have done is styled a sound with their always challenging thought process and approaches to musically boundaries. I have never really taken to heart the whole KC ethos in music, what I have done is toyed with their catalogue from time to time. With this EP and the promise of a full CD release (I remember when 34 minutes was full release!) entitled “THE POWER TO BELIVE” early in 2003 plus a world tour to follow this has again opened my eyes and ears to a band who maybe should have gained more commercial respect in the mainstream than they have.

Renaissance - In The land of the rising sun (Uk gep 02)

Renaissance have been at the front of Folk’Prog fusion for over 30 years so it was sad news to us who love their blend of music that on the2nd of October this year Annie Haslam announced that Renaissance have decided to call an end to things. With the planed release already set this now comes to be Renaissances swan-song. This double CD offering finds the band playing live in Tokyo Japan in 2001, is almost a chronicle of the bands career calling on classic tracks from their extensive repertoire along with tracks from their last highly acclaimed last studio release Tuscany. This particular line up has both been critically acclaimed as one of the stronger incarnations of the band and as well as being taken to heart by the fans. The quality of these live recording (something I find I seem to scrutinise more and more with live CDs) is exceptional the right mix of vocals while not crowding anything else. All instruments are heard well with clarity and balance. By only criticism of the releases would be in the packaging which although colourful did lack depth to it. Overall this would have been a great live CD had it been released while renaissance had still been “alive” but with the sad news of their demise this just add to show us just how much of a loss such a classic band will be. I just hope that someone in Renaissance takes the meaning of the word (to be reborn) to heart and has second thoughts about the decision to disband.

Finally returning with a new release after a break of 17 years (due to illness), Linda Thompson shows why she was and still is held in such high regard from numerous lovers of folk music. Her career started while singing with Fairport Convention and continued whit a successful career with her then husband Richard (who helps out here). Musically this for my ears is as good as any previous offering from Linda, predominantly the songs are penned along with her son Teddy there is a blend of melodic and pure folk tracks. Even after such an absence from releasing any new material Linda Thompson's voice is still as exquisite and fragile as it always was, for me personally I found the depth of emotion on this CD strong than I can recall from her before. With assigned help help from; Van Dyke Parks, Kathryn Tickell, Eliza Carthy, Danny Thompson and Martin Carthy plus many more this could easier challenge as the folk music release of the year!

Ryo Okumoto first solo offering getting away from his main day job as keyboard player for Spocks Beard and session man extraordinaire to the likes of Phil Collins, Eric Clapton, Toto and many more. The CD itself reads like an "WHO'S WHO" in the field of modern progressive rock today, guest musicians range from, Glenn Hughes, nearly all of Spocks Beard, Doug Webb (alto saxophone) and D. Jon Papenbrook (trumpet) to name just a few! I was slightly worried at first as to how much of Ryo own "music" would be on this CD (a number of songs are co/penned with Neal Morse) and how much this might be seen a co-project running along side the recently released Snow from SB. After tackling opening number Godzilla Vs King Ghidarra we get the deal here, this is a solo CD, 7 minutes plus instrumental with jazz fusion origins. Next up is "The farther he goes" a groovy little funk/rock tune with some interesting use of vocals that rock out all the way. The use of funky rock is set and sees this as a theme in direction on Slipping Down and Free Fall with lots of explosive guitar routes and driving back line. This doesn't detract from Ryo's prog influences and the 19 minute "Close Enough" which had been touted as an epic number before the release of the CD is surly that, diverse and eclectic style this is what every progressive rock fan wants right now, complex rhythmic sections with lashing of Mellotron and Hammond organ added for good measure. Maybe the easiest call here might be to Yes's Close to the edge (in a year 2002 way), although there are some stunning Floyd "Wall" era vocals from Bobby Kimball at times while he's as equally at home doing the higher end passages. Close Enough is as likely to 100% prog as are going to find on any of this year's offering from Inside Out. The overall sound of this CD is defiantly not SB, it is a solo CD from Ryo Okumoto, progressive in its style and appeal while more fusion and funky in sound. If you are a SB fan then this CD is likely to already be in your collection of this years buys, though if you are standing in the legions of new (and old) progressive rocks fans around looking to make their mind up on this one (along with most of the Inside Out catalog) this is more than a worthy investment.

It seems like only yesterday that Enchant released the great 'Juggling 8 Or Dropping 9', but in the meanwhile there have been a few shifts and turns that could easily have derailed them from their chartered course. Stalwart, founder member, co-writer and drummer Paul Craddick has left the band on amicable terms, for apparent 'musical differences' ( don't be surprised to another Xen project, PC's side project with band members ). Now guitarist Doug Ott, along with co-lyricist and vocalist Ted Leonard have penned all ten songs on BOAE. Ed Platt also returns on bass, more peripheral keyboards are provided by DO and also the more complex solos are played by guest musician Phil Bennett, as the band still search for a replacement for former keyboard player Benignus. Sound-wise, the band have moved up a level, mainly due to a new computerised recording system at DO's studio house. The guitars are more cranked up and inspired. TL's soaring vocals more to the forefront and defined. Sean Flanegan's drum sound at the cutting edge. Gone now are the early Marillionisms of early albums; the band now are clearly in progressive hard rock vein without quite reaching that progressive-metal tag. Although, reasonably formulaic in writing style, DO has reached the pinnacle of creativity here, ten top notch songs with no shortage of complexity or sensitivity in the lyrical department. In fact Enchant are now one mature band, with consistent songs of varying tempos, complex rhythms and instrumental trade-offs, vocal melodies and crisp clear production. The songs on BOAE are all passionate, about 'everyday situations' and some are very personal. Opener, 'Under Fire' describes the recollections and vibes of a Vietnam war veteran. A pulsating track that ebbs and flows around a superb emotive chorus, and also shows off the band's technical craftsmanship. 'Flat Line' contains some great keyboard / guitar interplay before a sublime chorus and some lovely vocal harmonies. The beautiful keyboard driven 'Follow the Sun' was written as a pick-up for the band following the departure of PC. Could they continue? A fresh style, with great dynamics and hooks. 'Ultimate Gift' is about finding your soul-mate, a deep layered sound with heart-felt lyrics and vocals.'Despicable' is a story of alcoholism and how affects the family. Up-tempo with some great chops and riffing. The limited edition version also contains the absolutely superb instrumental 'Prognosis', imported it sounds straight out of the Liquid Tension Experiment. Even down to the picked bass and Petrucci style playing. Absolutely incredible playing. I've been a fan of the band for ten years so you may think I'm biassed. A step forward for the band, glorious, technical, melodic, progressive rock, a definite recommendation and another winner from Inside Out. (I.D.)

Britain's finest and most prolific prog-metal band Threshold return with another great release, Critical Mass. Stability, for a band that over the years has been beset by line-up changes, is the key. Karl Groom ( lead guitar ), Jon Jeary ( bass ) & Richard West ( keys ) have always been able to write a class tune, but here on CM there is greater emphasis on detail, refining the sound and experimentation but I hasten to add, never at the detriment of the trademarks that have made the band what they are today. The band overall sheen, melodic sensibility, flawless production and musicianship are traits other bands can only aspire to. Twin attack, rasping layered guitars with class chops, time signature changes and razor sharp solos. A pounding, precise rhythm section. Lighter piano and extra keyboard touches just add to the overall polish. Also great, expressive vocals from Mac, a controlled non-whaler is supplemented by glorious vocal harmonies. There appears to be more reathing space than before, a more open sound, more subtleties, solos and lighter touches. Five months in the writing, the songs on CM are more varied and diverse than previous album Hypothetical. Opener 'Phenomenon' and track two 'Choices' set the scene in classic Threshold vein. Unrelenting heaviness and power chords one second, sublime harmonised changes in tempo the next. 'Falling Away' is keyboard led with fresh sounding drum patterns from Johanne James, down-tempo with a memorable harmonised chorus, supplemented with some staccato soloing from Messrs KG and Nick Midson, far more easy on the ear than previous albums and demonstrating a slightly different, less is more approach. 'Avalon' is a piano based power ballad, with a smooth and beautiful chorus, clever use of light and shade. The tour de force of the album is the three part epic 'Critical Mass', a true progressive masterpiece in traditional sense. The track emphasises the lyrical theme that runs through the album - reincarnation. A breathtaking journey through razor sharp riffing, experimental, instrumental tapestries, synth and acoustic parts, a refreshing statement of the direction the band are choosing to take. Whilst most fans of the band will already have bought CM, I suggest this may be the time for those who tried Threshold during their GEP years, and found them to stereotypical or overwhelming, to try the band again. Inside Out have again have pressed a double cd on the limited edition version which highlights new songs by NM and Andrew McDermott, and also multi-media footage. To conclude, a great slab of prog-metal from one of the World's top bands in the genre. (I.D.)

One thing you could never say about Musea records is lacking commitment to progressive music, or never giving new bands a chance. The label are also keen to unearth and re-issue lost gems and in some cases, release them for the first on cd. Ultimately, to be a commercial success, the albums must stand against the new products of today, but release for profit has never been Musea's philosophy. The following three are totally new to my ears, and really couldn't be more diverse in style.

Wurtemburg are a band displaying the writing and playing skills of Frenchman Alain Carbonare. He is best known internationally for the making and playing of his own 'traditional' style instruments, the dulcimer for example. Opus 9, recorded in 1980, is a totally instrumental album described as a wedding between tradition and modernism, a forgotten French masterpiece, a creation of elaborate music based on a mix of medieval sounds and current electric instruments. In fairness, the album stands up pretty well sonically. Loads of flute, electric and acoustic guitars, piano and Hammond, supported by a plethora of other instruments. Airing slightly on the classical side, gentle meanderings, light strings, folky touches and elaborate, layered instrumental progressive rock passages. I must say I did enjoy this album, beautifully played melodies of the highest calibre. It is obviously an album set deep in French tradition and requires deep concentration to fully appreciate. I think its time to track down Wurtemburg's second album, 'Opus 10'.

Christian Boule is probably best known for his work with Steve Hillage and also his expressive and unique guitar playing in the glissando technique. He describes it as rubbing the strings with a metal stick like a bow, creating a cosmic guitar sound in a similar vein to a Wah-Wah pedal. As for the album itself, it was originally released on Polydor in 1979 with a company of, at the time, accomplished guest musicians. Boule is clearly a great guitar player and gifted composer. N-F is a mostly up-tempo, guitar dominated album, with occasional sax counter playing. The vocals, mostly in French, are performed by female vocalist Andy Slatin. I prefer the musical, spacey interplay of guitar / Moog / Prophet to the vocally dominated tracks. Some of the guitar playing is quite scintillating, smooth and velvety and not unlike Andrew Latimer. I did find however some of the singing and spoken word quite annoying. Stand out track for me, the hypnotically progressive / psychedelic instrumental 'Psychedelik'.

Sigmund Snopek III is a US keyboard player of Polish descent and along with guitar player Byron Wiemann III, the two have created a number of off the wall, hard to classify albums. Their albums are described as related to The Moody Blues, Frank Zappa, Magma, classical, ethnic, pop and jazz-rock. FBOTM was originally released in 1980 on Mountain Railroad Records, an eleven track affair. The first thing to note is the complexity of the vocal melodies, expressive, layered and often a touch weird. You get the impression of loads of tongue in cheek lyrics, and yet a sense of a serious undercurrent. The music itself is mostly mid-tempo and melodic with loads of solos, experimental sections and flashy instrumental touches. Although the songs hold together pretty well, and its hard to fault the playing, as you would expect they do sound quite dated at times, and are definitely an acquired taste at times. I would have to say for adventurous listeners only and of course, those who already know the band. (I.D.)

Paradise Square is the second album by Swedish proggers Simon Says and although it is my first encounter with them, it is believed to be a vast leap forward for the band. This is not the usual Swedish bombast and distorted fayre of say Anglagard. Simon Says uses a melodically crafted writing style of Genesis, complemented by the technical playing and arrangements of The Flower Kings, and snippets of other influences such as It Bites, Spock's Beard and Anekdoten ( particularly with the bass lines ). The band never seem to ponder on one idea for too long, so many different ideas floating around and at first it's hard to relate them all to each other in your head. Repeated plays reveal their complex, meandering style and yet passionate musical accessibility to be one of their great strengths. Bass and keyboard player Stefan Renstrom is the main songwriter in the band. He has an almost storytelling approach to the lyric, all the songs surrounding the central character 'Simon'. Almost tongue in cheek, there is a description of a situation the character is in, then the vocal lines kick in. Quite unique, but it really works! Musically, the sound and playing is exemplary. An amazing clear, uncluttered sound - no instruments get lost in the mix. Seven songs in all, full of gentle melodies, varying in tempo and complexity, they really throw the kitchen sink at this in terms of ideas and sounds, and freedom of expression - but never at the detriment of the song. The first two tracks 'And by the water' and title track 'Paradise Square' are very much in the early Genesis mould. Expressive vocals, a sort of accented Gabriel / Dunnery hybrid, with varied guitar and keyboard styles, plus many unexpected musical touches. Flower Kings style guitar / keyboard interplay. Loads of Hammond, Moog, Mellotron, one massive Anekdoten style bass run, and some lovely flamenco guitar playing. These tracks set the tone for the rest of the album. Third track 'Striking out a single note for love' begins with an almost Level 42 pop-lite beat, leading to more FK multi-combo patterns and textures and an It Bites section with a circus feel and harmonica section. 'Fly in a bottle' is an emotive light and shade style track, contrasting fragile acoustic guitar and vocal, countered by the crescendo of gongs and lush symphonics. The sitar dominated 'Darkfall' leads to the fifteen minute epic 'White Glove'. A true masterpiece. Wholly delicate and melodic musical passages, fantastic solos and singing. The final track 'Aftermath' has a distinct cinematic feel. Futuristic keys and voices, varying tempos and small nuances. A long improvised instrumental to end. This is a seriously great record with great packaging and another astute signing by the emerging Galileo label. It'll be interesting if the prog heavyweights can better this with their albums later this year. The best pure prog album so far and an unreserved recommendation. (I.D.)

Occasional UK progsters Galahad (I say this has their release for me and to few and far between) finally return to the fold with a new CD. Long gone now are the Marillion "alike" quotes which always seemed to be included in any writing or mention of Galahad in any form of press. Galahad have in my mind always tried (if very slowly) to evolve their music and on this CD, they extend that here to include some experimental sounds, heaver guitar work which borders prog-metal while adding a hint of jazz and dare I say dance? Stu Nicholson's vocals and clever lyrics have always been the main stay of this band and on this release there is no change, I like his vocal style and on YEAR ZERO it's more grown up than I had heard before. This CD is clever, with its wide use of styles while staying true to the bands "porg" routes, still there are mellow Pink Floyd sounds, while with a turn of a note you are brought back to the harder edges of the sound. With its flowing tracks leading into each other and a large list of gusting musicians that include, John Wetton (vocals) amongst other, this CD should appeal to more than just the long running and loyal fan base that Galahad have already built up. One question I'm always asked is "who does it sound like" I always try and stay clear on this question as I find my ears lead me to name some might not like to be associated with, Galahad have strived for along time to throw off cloaks other bands might have worn, here for me on Year Zero, they have come a long way, with their desire to incorporate styles and attitudes from classical prog to dance floor sounds, Galahad may have created the perfect neo-prog CD.

Another foaming CD release from METEOR CITY, haling from New Mexico and claiming influences from Sabbath to The Floyd to Tool and Clutch these guys hold up the whole ethic of the "stoner genre". Slightly short for a first CD at just over 40 minutes, opener "2 (Noonday Demon)" is 9 minutes long and for my ears the best track on the CD, with its driving chords, that turn dark and doomy before building up again to round off this up tempo rocker. Next on the attack is "Fat Man Throbbing" again a great rocker but this time with a more bluesy edge to it, showing off the vocals of Jadd Shicker (yep, it's the same Jadd who runs Meteor City), track 3 another 9 minute number "Glorywhore" is about has dark a rocker as you are going to find around here, hard and low rock riffs run this number throughout, you get to feel these guys are snaking around the floor in some hot bar just letting those guitar riffs flow. Three more numbers finish off the CD, "Clean Livin" at just 3 minutes 28 is the purest of rock numbers on the disc, while "Woman Tamer" and closer "Slump" round off the disc, the first of these two appears to me some "cover" number but I'm lost as I write this to who by, and the closing number gives us stoner jam fest at its best. Great first offering from a band I hope I hear more from in the future, as I find myself getting more into the whole "stoner" sound I sure wish we had bands coming out the UK with the sound or ability we get on debut CDs like this.

First off this CD won my award for "top title" so far this year. Now some background on Patrick Porter (I think its needed here), living in Denver, Patrick's a musician, multi-instrumentalist, writer and more, he recorded this CD when he was just 17 (about 5 years ago now) and has he puts it in the press release "after school in a friends basement". The CD is crude muddy affair of teen adolescent, maybe that's why I hear overtones of early "Smiths" coming through in the opening track "rosebud was a sled". Throughout the CD the songs are a collection of styles from folkypop running into psych tinged singer/songwriter numbers, intriguing in value while containing great melodies. "Moths on the dashboard", "Last song from a booth", "My role in the beating" all give you the idea where Patrick Porter was at during the phase of his life. On the whole I found the songs had maturity way past this guys years, take the plunge go buy this CD, read those lyrics, they'll worm around inside your mind for hours! This CD should find a home sat somewhere comfortably between your Nick drake and Syd Barrett collection.

Very much a CD for the fans this collection of "rare and unreleased" tracks span more than 30 years. While recorded in various locations around the world with the inclusion of rare studio tracks along side radio recording, home rehearsal tapes, live recordings and also featuring guest from Mark Knopfler, Julie Matthews and Tim Healy this makes for a must have in any fans collection. Lindisfarne have over the last 4 decades of playing their blend of folkrock built up a large fan base and with this kind of release (and other CDs in this series) this serves to keep them very happy. Included is a nice foldout insert giving you details of where and when these tracks were recorded or appeared before. I can say from personal choice if you're not familiar with the work of Lindisfarne then don't start here, what I would say is if you have more than one of theirs CDs in your collection, this is as good companion piece you are going to find.

This is a re-release of work put out 3 years ago, now being re-distributed by Voiceprint. This CD is a collection of tracks from previous works Steve Jolliffee had recorded. Although his work with Edgar Froese/Klaus Schulze in Tangerine Dream is well documented and always seems to outshine Steve's solo works. I myself like this blend of comfortable music (if not mellow) Steve produce's. The CD is set out over the course of an hours worth of sounds. From opening sections of Japanese butterfly you start this transitional journey, floating sections over multilayered instruments find this a quickly taken outing, the hour of music you have just consumed seemed no more than few minutes in the taking. Drifting into the deeper almost forest sounds you are soon transported back to a sun soaked island full of dreams. Steve Jolliffee has now for numerous years produced what some call new-age other neo-classical, which ever terminology you chose, this is a collection of warm tunes that you find you can listen to at any time of day, an easy listen which fill you in the warmth I feel Steve intended to cerate.

A case of this does what it says "on the packet", gutsy blues rock set from Ex Thin Lizzy guitarist. 10 tracks over 50 minutes of club blues will appeal to the masses of you bluesrockers along with the legions of TL fans out there. This was always going to be a hard shout for me to call when it came to writing about this, I know and love classic era Lizzy but struggle to get to town with so many of this crowd of blues rock doing the rounds right now (peter Green and the likes of). The CD is recorded live (as the title would suggest) in Dublin June 1998. With Bell leading this 3 piece line up you get a selection of original material and cover versions, some tasty guitar work and a nice atmosphere add to the overall appeal to this CD. On a personal level this CD really isn't my thing, although faulting it for anything other than musical style would be wrong. If you "dig the blues" and like so many enjoy nights out around the UK with the ever increasing circle of blues bands playing then you couldn't go wrong in picking up this CD, if you are a TL fan looking for a rocker stay away, if you just like good music played well, this might be worth you attention.

This CD finds UK NWOBHM stars recorded and playing live at London's Astoria in May 2000. Although sadly earlier this year guitarist and band leader Paul Samson passed away, this CD is a great way to hear him doing what he did best, playing loud music! With the crowd on fine form this CD commemorates 20 years of NWOBHM. Still fronted by Nicky Moore who's vocal sounds as clear and full of energy as they did some 20 years ago this set sees Samson power their way through crowd pleasers such as "Don't get mad Get Even" , "Red Skies", "Riding With The Angels" and the great "Mr Rock & Roll". While some bands live of old dream by constantly rehashing old songs with no enthusiasm for the music (just financial gain) Samson on these recording sound and play as fresh as they ever did, showing just how much of a force Samson were in the birth of NWOBHM. Its purely for this reason that Samson play to the awaiting audience's approval, in return you get a CD crammed full of the feelings and emotions of the evening. Sadly as I have already mentioned Paul Samson passed away this year, what's left behind in Samson's wake is a back catalogs wealth full of great rock music and especially with this CD as a soundtrack to what must have been a great night. Long live (Mr) ROCK AND ROLL!

Probably the most eagerly anticipated CD release of 2002 for any fan of neo-prog. Firm favourites Spocks Beard return to the fore with this 2CD (or even 3 CD deluxe set featuring bonus material if you want to spend the extra cash) concept work. Whenever any progressive band release a "concept work" tones of Genesis's Lamb, Floyd's The Wall or even The Who's Tommy will always get drawn into the equation even before anyone has heard the material in hand. This is the 11 release (including live stuff) in 11 years from SB, their popularity amongst prog-rock followers have grown steadily and now find them sat firmly at the fore of this genre. So maybe the time is right for the band to enlist on this, the almost obligatory 2 CD (used to be LP "way back when") concept offering. Set out over nearly 2 hours and 26 tracks, you are offered the chance to enter the world of "a young man and his gift of healing, and learning how to heal himself from within" it's seems all very involved on first reading / listening. Musically this CD shows how SB are maturing and firmly standing comfortable with the music they are producing (something I found lacking from the previous SB material I'd heard). The main stay for SB is Neal Morse's voice and on this CD it is shown clearer than I had heard before, with Nick D'Virgilio's incredibly tight drumming and great organ/key interplay sound this for me is SB's best work to date. It would be impossible in the time and space I have here to give a full track by track account of this CD, there is a complete mix of the rock spectrum in musical styles from the melodic rock of Stranger In A Strange Land to the out and out monster prog of Devil's Got My Throat (frenzied times changes etc.) to the progressive rock fest in the final track and reprise of opening number "Made Alive". Overall this CD is certainly a work of "Epic" proportions as are most "porg concept" releases, certainly the more you listen the more you get to "understand" and get involved in the story behind the music, what SB have done is to expand the horizons on their previous work, cull together all individual experiences (both musically and personally) by putting this all together SB have given birth to SNOW, a deep musically conceptually experience which should more than stand the test of time.

Gerard are a mainly instrumental, progressive three-piece from Japan, and already have a considerable back catalogue. New album SOTW is released on Musea records, under licence from Marquee Music with some changes for the European market. Set up in Classic ELP vein with bass, keys and drums, Gerard are really the framework for keyboard virtuoso Toshia Egawa to air his considerable talent, and he in fact writes all of the music on the album. Also, bass player Atsushi Hasegawa provides some of the best and creative playing I've heard. The music itself is extremely complex, with dreamy atmospheres, layered symphonic textures, overladen with pulsating bass-lines and varied and frantic melodic keyboard runs. Subtle sections to heavily bombastic, and every tempo and style in between. TE claims to play KORG synthesizers exclusively, but all the usual Classic keyboard sounds are here, Hammond, grand piano, church organ, harpsichord, strings ala Keith Emerson, at times in 'Tarkus' and 'Karn Evil 9' vein. I must admit, ELP were never my personal favs, but there is plenty here for the heavy keyboard fan. Three of the seven tracks have vocals, the lyrics penned in English? by co-producer Numero Uno, but to listen to the singing you would never have thought it. I found myself really struggling to make out the words despite the use of two different singers; I'm not sure whether the lyrics are sang in their native tongue on the Japanese release but I expect they are. This a side, the production is excellent, some of the melodies are quite breathtaking, and a great overall feel of total musical expression. Although not my favourite style of progressive rock, I can see classically driven keyboard driven rock and ELP fans finding much to like here. (I.D.)

Legends Of Ardigm is a twelve minute demo EP, and a taster for a forthcoming full length album from two-piece Canadian band Spellgate. Comprising of Darynland ( synthesizers and computer programming ) and Dosashlia ( vocals ), they describe themselves as a fantasy band playing 'synth metal'. The innovative music undoubtably is heavily symphonic with vibrant melodies, layered walls of keyboards and varying tempos, exclusively written and played on keyboards, even down to occasional double bass programmed drumming. Lyrically, the songs have a sense of whimsical epic folklore, myths and legends, sword and sorcery, dungeons and dragons, mysterious Tolkienesque stories......I think you get the idea. The female vocals are quite strong on their own, but I must say I find the overall product a little overwhelming at times. I can't fault the playing or the production but can't help feeling the vocals are sometimes lost in the mix. There's some nice melodies here and unique potential, perhaps the band are working towards more subtlety and varied textures on the new album. (I.D.)

The Dutch have enjoyed a vibrant live progressive scene for some years, and now a host of homegrown bands such as Ricocher and Flamborough Head are giving the genre new impetus. Six-piece SS however are no new band, they released an album in '92 to critical acclaim 'Eve Of Innocence', although only three of this line up remains. 'Trust', released on Musea records, is a true progressive album taking influences from 80's era Marillion, Rush and a host of other peers. Its taken a good few listens to digest this album fully. At first I found the vocal lines uneasy with the musical passages. However, not overly complex, this record is definitely a grower, revealing a cohesive and at times compelling listen. Singer Olaf Blaauw has a distinct, clear, emotion-clad voice, every word to precision but I do get the impression he is holding something back. Song-wise, SS seem to have mastered the art of creating that open-ended, laid back feel, yet knowing when to increase the tempo. The guitars and dual keys trade off each other expertly but never dwell, songs so carefully crafted with many subtle moments and sublime instrumental passages. I did find some of the production a tad tame and inconsistent at times, although I hasten to add this is a minor observation. The songs however really ooze a sense of confidence and class at times. Nine tracks in all, opener 'Song For A Day' is a heavy-ish, riff-based track with layered keyboards, breaking into some tasty guitar lines, twangy bass and atmospheric keyboard / guitar interplay. The main vocal line reminds me of Stoke band Final Conflict in it's execution and complex lyrical content. 'Thin Ice' reflects 'Signals' era Rush, 'Lost World' is so subtle with emotive vocals over some sultry guitar phrasing and keyboards. 'Trust' and 'Midas Touch' sound uncannily like early Enchant, particularly the drums, guitars and wispy keyboards. 'Two In One' is an atmospheric, ballady, down-tempo, acoustic led track, with Blaaux's best vocals, and also a distinct Celtic feel to the keyboards and catchy chorus. This album has more than enough for the average prog fan, but personally I would like to see a bit more edge, more musical expression next time but perhaps it's just their sublime approach to writing. To quote Paris in the Springtime from 'Thin Ice', the album is 'not half bad' and it would be a shame to ignore it. ( I.D.)

With a title like Paradise Within this CD sets my mind pattern to "newage elevator music for the musically unchallenged" even before opening of the CD case. What you do find is if you are prepared to enter into this CD is a collection of 15 tracks of high quality from this lifelong keyboard player. There is a mix of styles from world music though new age and onto neo-classical with a hint of jazz, sounds a little confusing? Not when you realize the whole of this CD relies on John Balint feeling for his music to make its impression on you. From melodic passages to intriguing and hauntingly deep sections this CD has the intention to involve you in its sound. It's always hard for me to pass fair comment on music I chose not to listen to in my spare time, but with this CD I found it had made it's way from the office CD player to the living space, which for anyone who knows me is recommendation in itself.

Shortly after Ken Hensley's band Free Spirit brought us the more traditional and commercial 'Running Blind' album ( MYS CD 153 ), the former Uriah Heep man has now released what is essentially a solo record - 'A Glimpse Of Glory'. I get the impression that KH has made an album very close to his heart, a personal, Christian rock album, whilst embracing other genres. Fifteen tracks, written over a period of three years, rich and song-based, but with simple melodies, very easy on the ear and wordy, with clear uncluttered production. 'Jesus ( Again & Again )' and 'The Joy Of Knowing Jesus' have a distinct Country rock feel with Gospel backing singers, slide guitar and backing organ. '( Because Of ) Who I Know' has more of a guitar edge, and a great vocal melody, more of what you would expect. The first co-written track ( with Danny Liston ) 'Guard Your Heart' is simple guitar and vocals, down-tempo with strong vocal lines. 'Shaking Ground' is bluesy driving rock, again with female backing vocals. Also, 'The Cost Of Living' with deep bass, guitar effects, layered vocal melodies, great keys and meaty riffing has AOR leanings. The whole album meanders through different tempos and styles and it is impressive how the vocals adapt with each style. It's not the kind of album I would ordinarily buy, and the high moral and spiritual content I believe could be altogether too heavy for some listeners. A solid Christian rock album on budget release, nothing more, recommended to his most devout fans and completists. (I.D.)

Dimension are a new prog-metal band from Mexico, and for a debut album, Universal is a very ambitious piece work. The concept is well thought out, and revolves around lyricist David Quicho's vision of a new Utopia and futuristic world through the 'Dimensional Gate'. Almost 'Stargate' proportions and a damning slur against the current global tension and general lack of morality in the world today. The music is song-based and pretty old school with Dream Theater, Fate's Warning and even Queensryche at times, coming to mind. Intricate, layered acoustic and electric guitars, frenetic drumming, throbbing bass-lines, and mostly supporting keyboards merge to form a quite impressive result. Prog with real attitude, enhanced with sound effects and atmospheric touches. Guitarist David Quicho also doubles up on vocals, and whereas in the sombre moments he's not too bad, he resorts to a screaming whale as he fights to get heard. At times unintelligible and a real annoyance. A band crying out for a Ray Alder (FW) or James Labrie (DT). The songs themselves are well constructed, with interesting ideas, with some great chops / hooks and great guitar / keyboard interplay and some subtle instrumental breaks. Also, great packaging, with dual language lyrics ( sang in English ), and pretty good production for an independent release. However, I can't help thinking at a time when there are so many emerging bands in the genre, there are better options at this time because of the vocals, which is a great shame because these guys can really play and the potential is clearly there. (I.D.)

Hamadryad are a French-Canadian progressive five-piece from Montreal, Canada, and with this debut, present one of the most challenging and unique albums within the genre. Eleven tracks in all, mostly vibrant and up-tempo, each a complex musical adventure. Rich in melody and subtlety, with shifting patterns and time changes, awesome instrumental interplay and an immense dynamic sound. Loads of Mellotron, Hammond, Moog, new and retro layered keys. Varied guitars, acoustic, electric, synth, chops, breaks and solo noodlings. I can only describe the vocals as EXTRAORDINARY. Jocelyn Beaulieu, the opera trained singer has a vocal range Geddy Lee couldn't get close to in his heyday. Definitely an acquired taste, but now after repeat listening I'm really starting to warm to them. Incredibly tight, the band give the impression of total ease with their music. Sure the Yes and Rush comparisons are there, but here we have a group of virtuoso musicians writing and performing a set of high calibre songs. The lyrics are deep and complex, full of inner meanings and imagery. Subjects such as religion, resurrection, nature and the planet, good and evil, life and death and living life to the full, are covered. The album gives a sense of musical theatre, angelic contrasts, with loads of subtleties that add to the overall effect. To mention one track, 'Amora Denomis' deals with the forces of light and shade. Time changes galore, heavy riffing and intricate sub-sections with beautiful contrasting vocal lines - the Princess and the Witch. All of the songs are top notch, that grow on you with repeated listening, the true sign of a great album. Definitely the best record from Unicorn, and highly recommended for fans of heavy prog-rock and adventurous music fans alike. (I.D.)

Wow, this is a really deep record. It seems to me 'T' (aka Thomas Thielen ) wants to put his own slant on Marillion's 'Brave' album, without any of the commercialism. We already know 'T' from his exploits with German proggers Scythe and their excellent 'Divorced Land' album. Naive is mostly keyboard based, particularly the first part, which is surprising as 'T' plays guitar and sings in Scythe. Here, 'T' sings, plays and programs all instruments and has an obvious knowledge of modern musical technologies. There is more of an underlying, unnerving atmosphere to this record, relying more on mood swings, subtle phrasing, spacey backdrops and soundscapes, sombre but emotive singing and wordy content, rather than technical musical passages and virtuoso musicianship. Layered keyboards, grand piano with electric and acoustic guitars and guitar synths, and also his mellow vocals dominate, uncannily sounding not unlike Steve Rothery and Steve Hogarth. Mainly progressive in style, but also avant-garde and sometimes painfully psychedelic. A chilling concept with very complex, reflective and personal, thought evoking lyrics. A story of inner thoughts, the death of a much loved mother, grieving, memories, dealing with adversity and the scarring, and coming through it all. At least that's the way I see it. It's hard to look at individual tracks as they seem to flow through the album, although they do seem rock more, and the vocals get more rangy later on. 'Nothing More' is particularly good. Electric piano and voice over a programmed back beat to start, leading to a spacey keyboard section and emotion clad vocal line. 'About Us' is the album's last and best track. Beautiful guitars and guitar synths and fantastic vocal melody. Stunning track. It really is an album to get your teeth into and be patient with. 'T' even advises caution: only play at night. It's one of those albums that leaves you in awe at the end. Another great album from the Galileo label. I just say relax, in a quiet place,.........................and enjoy. (I.D.)

	WURTEMBERG - Rock Fantasia Opus 9 FGBG 4401.AR
	Christian BOULE - Non-Fiction FGBG 4350.AR
	SIGMUND SNOPEK III - First Band On The Moon FGBG 4417.AR