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PROG ARCHIVES intends to be the most complete and powerful progressive rock resource. You can find the progressive rock music discographies from 11,745 bands & artists, 66,606 albums (LP, CD and DVD), 1,838,633 ratings and reviews from 65,587 members who also participate in our active forum. You can also read the new visitors guide (forum page).

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Last 50 reviews
Studio Album, 2008
4.12 | 522 ratings

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Blomljud
Moon Safari Symphonic Prog

Review by ElChanclas

Blomljud is the 2nd studio album released by Swedish progressive rockers Moon Safari and even though it lists 11 different tracks (2 cds) the album feels like a whole with flowers being lyrically speaking common ground throughout the almost 2hrs of "happy" Symphonic prog. I'm using the prefix happy because this album sounds just like that, happy - bright - positive, and I know that for the band's fans the vocal harmonies are a highlight and definitely signature for their sound, but sometimes it is a little too sweet and sticky, almost like listening to Christmas carols? to put it this way? this is the album that I play when I'm with my twin boys (6 years old) in the car heading to Karate or soccer, and they love it, it has that infant-like feeling and I blame the vocals for that. If the listener can get over that fact, then the musical experience here is simply phenomenal in every single aspect, all of it, really amazing!

CD 1 opens with the first vocal harmonies in Constant Bloom, setting the theme and melodies for what's to come and what the listener can expect from the start and up until the very end. Methuselah's Children is the first epic of the album, clocking almost 16 minutes, full of synth layers (Moog, Hammond, Mellotron) and regular piano, a constant in the band's music, very tight and accurate rhythmic section and beautiful guitar work, both electric by Sandstr�m and acoustic by �kesson, the musical blend is really catchy and they accomplish to create ear worm melodies for every song. Five musicians that sing and sing well, that's why the vocals are sometimes even more important than the music itself, you can sometimes hear how the instruments are placed in the back while the vocal harmonies take over, like if the vocals were doing a guitar or piano solo, this is the best way I've found to describe how this band works, at least to my unprofessional ears. A couple of rhythm changes, nothing too complex but enough to be embraced by prog fans. In the Countryside is a folky tune very inspired in the late 60's early 70's scene, sounding more like a time-evolved Beatles or Beach Boys tune, lots of textures and instruments involved, again flawlessly played and put together. The vocals reach a high pitch here, sometimes being a little overwhelming but, again, if the listener enjoys that aspect or either can separate those vocals from the music, then it is a very enjoyable song. Moonwalk blends in bringing some darker and harder feeling, resembling sometimes that intense hammond sound proper of early Purple and Heep portraying the various influences that impacts this band's song crafting. Little more space-psychedelic rock than the previous tracks without abandoning the positive vibe of the concept and relying once more on the beauty and peacefulness of the melodies. An instrumental track with great guitar licks and piano marriage, giving birth to one of my favorite segments of the record. Bluebells was the song that made me listen to this album again and again, the vocal harmonies are the highlight, but less sweet and much more memorable. Opposite to what happens in the rest of the album this track is solely composed and written by bass player Johan Westerlund, and sometimes it does sound like something taken out from Sargent Pepper's, smartly twisted and more grandiose than the aforementioned. The Ghost of Flowers Past closes the first CD resuming all textures and melodies experienced and heard in the previous 40 minutes, delivering probably one of the best moments of both cds, both musical and lyrically speaking, the guitars are spectacular, again. CD 2 opens with one of the more eclectic passages in the record, the song Yasgur's Farm, more up tempo and playful preserving the same brightness and melodic approach, guitars sound louder in the mix than before or at least that's the overall sensation when listening to the structured shredding, really really good. The "Christmas carol-like" vocals arrive towards the end of the tune, short and precise and nevertheless beautiful. Lady of the Woodlands is the first of the two shorter tracks in record, and to be honest I'm glad is only 3 plus minutes? please don't interpret my comment as something negative, the track is as good as the rest of the album, it is just too sweet to do some unnecessary prolonging. Drumming is a highlight here, precise and with perfect volume. SKIP The enormous epic Other Half of the Sky consists of almost 32 minutes of cotton candy symphonic prog divided in four parts: I - Written in the stars. Acoustic arpeggio, hopeful vocals and melancholic piano prepare the listener for take off, no seatbelts needed. The designed track does exactly what it is supposed to do to grab the listener for that amount of time without letting him get overly sugar coated. Yes, some mid-hard classic symphonic prog with nice guitars, amazing bass lines and even some dark synths to guarantee the grip. Colorful Floyd-style break near half of the trip and back to dreamy arpeggios. Mainstream pop music with hints of folk, Canterbury and symphonic?I like to call it wife-friendly prog. I really like the guitars here, they make their way without too much announcement but leave their print all over the place, in one way or the other, same as the synths, never too complex never too simple. Unquestionably the best half hour of music I've heard so far from the band. There is some sourness under all that sugar, it is there and they let you taste it here and I appreciate that, and embrace it. To Sail beyond the Sunset is the chosen track to their first double album? SKIP

I like my symphonic dirtier, I would rather recommend this album as an outstanding pop album, with phenomenal musicianship, tons of catchy and memorable melodies, and spectacular vocals, but not as a symphonic prog album, not there for me. Still recommend it for curious music nerds like me. THE END

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Live, 1998
3.83 | 16 ratings

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Swans Are Dead
Swans Post Rock/Math rock

Review by Mellotron Storm
Prog Reviewer

SWANS are one of those bands who have some very passionate fans and usually when I give 3 stars it's about explaining why, so I offer up my complaints which just gets the fans of that band even more upset(haha). So apologies to SWANS fans for not liking this live double disc recording. SWANS like THE FLOWER KINGS seem to have a goal to fill to the brim each album they release and to make matters more(ahem) interesting they release a lot of double albums so if your like me and haven't warmed up to 140 plus minutes of music man this is a chore to spin each time. Okay I've insulted some people already but yes SWANS released this as a final recording and the first disc is called "Black" and it features music from their final tour in 1997. Not songs from one show. Same with disc two, a 1995 tour and again the tracks were picked from many shows. I don't know I just feel that this is a recording I don't want to hear again and while I've given 4 stars to many of their later albums this 1998 release just doesn't hit the spot. I honestly have never been huge on this band because of many of the lyrics and also that vibe they give off. I prefer light.

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Studio Album, 1983
3.19 | 1897 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by jamesbaldwin
Prog Reviewer

After the worldwide success of The Wall, album and film, Roger Waters recalls David Gilmour and Nik Mason (but not Richard Wright) to release what is in fact his first solo album, a requiem on the war, an ideal homage to his father, who died in Italy as an American soldier during the Second World War. Waters wanted to indicate Gilmour and Mason as session men, but in the end he had to accept having them as colleagues in Pink Floyd, a band name that now reflects only himself as the only author of music and singing.

This album is considered a minor work but, in my opinion, it is one of the best of Pink Floyd, when framed as an album of a singer-songwriter. Now I try to explain the reasons.

Side A: 1) Post war dream: 7,75. It's a pity it ends after what could have been a very engaging refrain. The slow start with a majestic background grows and then explodes... all very beautiful but without development. It ends too soon.

2) Your possible pasts: 8. This is a real song, with verse and chorus, and a great Gilmour's solo, which remains perhaps the most powerful guitar solo of the album. Very good song.

3) One of the few: 7. This short piece is basically a connecting fragment, monotonous, acoustic, but which retains the dark and threatening atmosphere of the previous ones.

4) The hero's return: 7.75. Strange piece, short, tense, it is not known whether a link or a complete song, with a good electric guitar to make the rhythm, and then give in to the acoustic one... but it has little development.

5) The gunner's dream: 8.75. After an explosion comes the first masterpiece of the album, a melodic piece, with the piano, and two explosions of orchestral epic rock, the first with the saxophone.

6) Paranoid eyes: 7+. First piece where the tension drops - it's the conclusion of the first side. Melodically discreet, with a majestic instrumental background like the opening piece, but without deflagration, it retains a light character, dictated by the piano, also the protagonist of the instrumental solo.

Side B: 7) Get Your Filthy Hands Off My Desert (no rating) Intro with noises of war and then violins

8) The Fletcher Memorial Home: 8. Rock opera piece, with baroque orchestration and slightly cloying moments, but then again comes the overflowing solo by Gilmour to raise the quality of the song.

9) Southampton Dock: 6.5. Another gregarious, connecting acoustic piece. Compared to One of the few, there is no tension in the initial part, dictated by the acoustic guitar, which appears a bit loose; then halfway through the piano, with a slow crescendo that reaches...

10) The Final Cut; 8.5. Second masterpiece of the album, similar for the melodic structure on the piano to Gunner's dream, then the orchestral epic rock moment comes in, with strings and a new wonderful guitar solo.

11) Not now John: 8+. The final crescendo of the album, which puts in rows three real thick songs, especially the previous one and this one, which is the most eventful of the album, with great choruses and an almost funky rhythm.

12) Two Suns in the sunset; 7.5. End with another calm song, and the noise of cars on the road, it seems to see cars go by while eating at the motorway restaurant; However, in the middle there is a rhythm broken by a dark section that embellishes the song.

The Final Cut is an album dominated by the voice of Waters, who alone makes the music, the melody and the trend of each piece; Waters whispers in the verses of the songs and connecting pieces, then heaves into a tragic or desperate lament as the pieces reach climax. Minimal music, reduced to accompanying the voice in the verses, often without percussion to beat the rhythm, only background, together with noises and voices; then an orchestral sound explodes in the climax with the drums, the electric guitar and the strings accompanying Waters' excruciating lament, or an excruciating guitar solo explodes, or in two cases of saxophone, in any case by a slow majestic progress in the verses we move on to an epic explosion with voice and orchestra or with an instrumental solo in the climax phases. The two major pieces are basically melodic pieces on the piano, another long piece is orchestral, two pieces have a saxophone solo. The rest is a narration with the voice accompanied by the acoustic guitar, only to be triggered by the drums and the electric guitar in the crescendo that lead to the climax of the pieces that are real songs.

The final Cut isn't a prog album, It is basically a melodic and orchestral folk songwriting, dominated by the voice of Waters who acts as narrator and orchestra director - and he succeeds in a superfine way, thanks also to the wonderful holophonic sound of the album (we hear his vocals as if he were speaking to us with his mouth attached to our ear) and the solos of Gilmour. There are two absolute masterpieces, and two other "almost masterpieces", and short connecting songs, in addition to the two (one for side) final ballads. Everything flows together to form a rock opera for solo voice, a requiem, which has an added value in the writing of the lyrics, political involved. If the final two ballads had been small masterpieces, and not just cute songs, we would be faced with a true 5-star masterpiece, instead I have to stop at four and a half stars, an "almost masterpiece".

Thanks Rogers for this album. Rating 8,5/9. Four and a half stars.

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Studio Album, 2021
4.17 | 117 ratings

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A View from the Top of the World
Dream Theater Progressive Metal

Review by saureign

Dream Theater hit & missed with this one. Despite the excellent production, clever arrangements, and well-known virtuosity, this is just a collection of the the same recycled movements & musical themes since 2010. Absolutely nothing new, nothing magical or - at least - a solid piece of prog; nothing who can stay with the listener. After the extraordinary The Astonishing - a landmark of progressive rock, even if many say it is long and cheesy - I would have been expected something provocative... Disappointing. Just like LTE3... For provocative, I have to stay with the latest Pain Of Salvation. Yet, I hope for another masterpiece by DT - maybe their swan song. 2 stars, sadly

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Studio Album, 2021
4.95 | 2 ratings

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Incidenti - Lo Schianto
Nichelodeon RIO/Avant-Prog

Review by JEDFORE Fake Dark Red Apple Simulation Artificial Lifelike Plast
Collaborator PSIKE, JR/F/Canterbury & Eclectic Teams

Claudio Milano and friends have been on hiatus for a very long time now and like mad scientists locked in a lab have been taking the last several years to alchemize their cauldrons of strange sonic sounds and preserve them in recorded form. Along with NICHELODEON and INSONAR, Milano hasn't been heard from since 2013's "Ukiyoe (Mondi Fluttuanti) / Quickworks & Deadworks" when they dazzled the world with a unique mix of experimental rock, avant-prog and modern classical music. So outside the realms of the current prog scene and discontent with retreading the endless cycles of retro prog that recycles 70s sounds, Milano has returned in 2021 and unleashed his most bizarre and most demanding works to date.

For those who love truly progressive music that pushes boundaries and expands musical horizons, Milano has been instrumental in keeping the Italian scene relevant by taking his theatrical vocal talents and commingling with some of the greatest talented vocalists and musicians on today's scene. Even more adventurous than the last album, INCIDENTI - LO SCHIANTO (Incidents - The Crash) released officially under the moniker NICHELODEON / INSONAR & RELATIVES took a staggering eight years to complete and features two more artists to join the Milano extended clan. NICHELODEON has been an expressionist theater music project formed in Milan in 2007 and has fused everything from traditional classical music with jazz, ethnic sounds, Italian folk, electronica and various shades of rock music. INSONAR on the other hand was founded in Venice in 2011 by Marco Tuppo and has dabbled in electronica, acoustic explorations and strange timbres from unusual instruments.

On this new release INCIDENTI - LO SCHIANTO, Milano, NICHELODEAN and INSONAR join forces with NOT ME and THIS ORDER. NOT ME is a newer project formed in Puglia in 2018. This group blends classical music with electronics and ethnic sounds with avant-garde harmonies, polyrhythms and atonality. THIS ORDER is a Gothic and theatrical avant-garde metal project that mixes metal heft with darkwave, stoner rock, math rock and avant-prog. Founded in 2015 in the small town of Taranto, this group has also cross-pollinated with many other artists and has even seen Paolo Tofani of Area in its company in the past. Together these four distinctly different bands have collaborated with Claudio Milano to craft one of the most outrageously creative and ambitious projects released in 2021.

This is the kind of music that really gets me excited. It's literally impossible to label as any particular genre given its scope is well beyond the limitations of any definitions thus designated. While the focus is on Milano's vocal gymnastics that distinguish him one of the most creative vocalists of the modern era accompanied by other gifted vocalists who craft intriguing and even freakishly weird harmonic displays, this album runs the gamut of Milano's classic avant-prog to chamber rock, contemporary classical, traditional Italian folk music, Gothic rock, avant-garde metal and much, much more. Everything is smoothly blended into one of the most stylish albums of the entire musical year of 2021. This album has taken several spins to really sink in but unlike some of Milano's avant-garde music of the past, this one has instantly infectious melodic hooks that are teased out into unthinkably strange terrain.

Milano's projects are like a musical circus really. While every release is ambitious beyond belief, INCIDENTI - LO SCHIANTO goes for the jugular. With no less than 44 musicians on board who contribute a whole warehouse full of instruments, this album is graced with a rich array of tones and timbres with all the usual rock, classical and chamber rock suspects however the album also features some homemade instruments such as something called the ghironda as well as other sounds from accordions, glockenspiels and exotic ethnic instruments. The is perhaps one of the best produced albums i've ever heard. Every detail is polished like a fine gemstone and then carved into one of the most breath-taking pieces of art that is almost too much for the ears to take given its stunning beauty.

Milano delivers some of his best vocal performances to date. While still delivering all those scrumptious operatic runs, he also surprises with strange screams, shrieks (reminiscent of Mike Patton) as well as Mongolian throat singing! His octave range seems to have expanded even further and his playful commingling of vocal parts with the female divas on board is utterly magical as they play off of each other with the precision of a Cirque du Soleil performance. Generally speaking the avant-riffs of various instruments weave hypnotizing tapestries of sound that generate unusually bizarre counterpoints that are based on recognizable melodic musical scales but twist and bend like refracted light through a crystal prism. The different bands contribute different tracks and they are distributed in a way that the album maintains a continuous flow yet offers an amazing diverse pallet of tones, textures, timbres, musical motifs and avant-garde weirdness.

The passion and talent that went into this album is unthinkable really. With so many bands simply trying to cash in on the sounds and styles of the original prog scene, Claudio Milano and friends are hell bent for leather in crafting fresh sounding music that actually takes you somewhere you never knew existed. This is the kind of music i crave for it is bold, daring and utterly uncompromising bravado yet as Milano has stated many times before, he is not about making complex music for the sake of complexity unlike his friends and fellow Italians Yugen. His motive is to make music that one can emotional embrace in a passionate love affair and then take you on a roller coaster ride of sound. Everything about this album is perfect. Every note and twisted avant-garde frenzy seems like it was divinely inspired.

Given the extremities of the music involved unfortunately Milano is one of those artists who is too far ahead of the pack for most music fans to comprehend. This music is as lushly orchestrated as a symphony, as angular and abstract as the most alienating avant-jazz and yet as sensual and inviting as traditional operas and arena rock. While the rock and metal aspects are limited, they offer the necessary contrast to keep this album firing on all pistons. I would say that the main gist of the album lies in contemporary classical and chamber rock steeped with avant-prog musical motifs with the many other sounds, styles and sensations offering supplemental sonorous splendor. Claudio Milano clearly never disappoints and with this latest jewel INCIDENTI - LO SCHIANTO he has raised the bar once again. Nothing short of an ingenious masterpiece of 2021. Bravissimo! Standing ovation! Clappity clap clap!!!!!!!!!

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Studio Album, 2021
4.40 | 13 ratings

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Variola Vera
Himmellegeme Psychedelic/Space Rock

Review by alainPP

HIMMELLEGEME is this Norwegian psychedelic rock band releasing their 2nd album in an atmospheric space rock genre; extraordinary progressive music that touches the soul as I read it?. And this is it! Riffs, aerial and crystalline solo on brilliant melodies bordering on melancholy, perfection; a little AIRBAG, GAZPACHO, SIGUR ROS, a lot of blues and above all a nod to the atmospheric new-wave of SIMPLE MINDS; songs in Norwegian and English on the disastrous imprint left by Man on Gaia, bordering on the concept album coming from another celestial world; an enjoyable guitar, a captivating voice, a sound also flirting on the lands of synthetic PORCUPINE TREE. A trace of RADIOHEAD and Jeff BUCKLEY for a dark climate.

"Shaping Mirrors Like Smoke" opens the debate with an intro that SIMPLE MINDS of the era of "Streets Fighting Years" would not deny; here it's stronger, psychedelic rock emotion and you will have to get used to a slide guitar used to perfection, soaring and thundering like a supercharged PORCUPINE TREE, like a crazy MAN OR ASTROMAN. "Heart Listening" shifts to basic WILSON, Alexander's soft voice, bucolic 'Paris, Texas' slide guitar pulling towards DIRE STRAITS; it then goes up to a folk rhythm, a softer atmosphere than the magnificent SUBURBAN SAVAGES from the same country, final on the divine guitar.

Alternative "Blowing Raspberries", we think of Gary NUMAN, a cheerful cold wave sound; title with the characteristic synth, like a bit of the burlesque tunes of BOWIE; to see at the end of the SF film with a cohort of policemen from the future; the guitar solo pulls out well. "Brother" literally changes course, melancholy air with the voice of Thom YORKE from RADIOHEAD, acoustic guitar; the SIMPLE MINDS slide seems to be reborn, Asian piano in the background then it starts gently, the sidereal beauty very present on an obvious crescendo and Hein Alexander who plays it in a Dantesque, dreamlike, aerial way.

"Let the Mother Burn" continues on a basic monolithic title until the chorus soars where the air literally explodes; the guitar is eyeing the PINK FLOYDs and Charlie Burchill's from the SIMPLE MINDS; hovering break then return for an end in dreamlike trance, in psychedelic mantra without the need for pills. "Caligula" follows, the most atypical piece, heavier, darker, obvious fat, pleasurable stoner; a bit of MONKEY 3, MOTORPSYCHO in the background all in 4 minutes and an apoplectic rhythm wrapped in a still crystalline solo, hammering air until the end.

"Agafia" for this 80's tune taken again, at the time when I said to myself that the prog would go through the synth and the new wave; luminous tune for THE PIECE from the album: extraordinary musical adventure; the voice, the drums, the synth and the bass are well organized to magnify this spleen guitar melting the notes; dark melody like the day which falls more and more quickly in Autumn, air oozing the beauty of the blackness and the finale possessing the instrumental progression that everyone dreams of hearing still today. "Variola Vera" for the acoustic instrumental where the monochord guitar walks and merges with the ambient sounds.

In short, the new HIMMELLEGEME material offers eight themes lasting between three and six minutes. The highlight is the solo guitar which draws attention to all tracks. A sound that stands out, singular, inventive, thunderous, renewed; a sound that is listened to in an absent-minded way, a sound that is listened to in a religious way, an extraordinary sound, an extraordinary sound that literally explodes and that fits directly into my top potential 2021 in view of its intense progressive drifts. The future of prog of the 2020s and 2030s surely lies there. Nothing else to write, listen to it quickly before acquiring it.

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Studio Album, 2021
4.22 | 19 ratings

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An Ambassador in Bonds
Compassionizer RIO/Avant-Prog

Review by Kempokid
Collaborator Prog Metal Team

Compassionizer, the latest music project related to Russian prog musician Ivan Rozmainsky, has been rather interesting to follow along so far. Their expansive, atmospheric compositions have felt so far removed from many conventions of progressive rock as a whole, and yet, there's nowhere else I'd really consider putting them either. The rich instrumental palettes that often evoke a range of deceptively intricate, complex soundscapes ended up making their first album, Caress of Compassion, a good album that often felt like an exploration into mysterious lands underpinned by a distinct melancholy. An Ambassador in Bonds is really the album that's sold me on Compassionizer however, as it demonstrates a strong sense of tonal variety without feeling like a total departure from the core sound established in order to facilitate this. While Caress of Compassion felt like it was exploring the endlessly large world around us and how overwhelming it can feel at times, this one feels far more personal and introspective, maintaining a a degree of darkness while also balancing this with a powerful sense of drive, optimism and ambition.

As a whole, I find that this album kinda lacks a sense of individuality between a lot of the tracks, clearly bringing forth a variety of instruments in each one, but remaining fairly similar in terms of what each song is trying to achieve. While this makes it a bit harder to pick apart specific moments too well, I don't mind either, as this works very nicely as a singular, cohesive experience anyway. That's also not to say that this is completely devoid of such qualities either however. Follow After Meekness sets the stage so well and reflects some core songwriting conventions Compassionizer utilises in their music. The track has a distinct ebb and flow to it, being unafraid to densely layer countless elements in such a way that there's a lot of nuanced interplay at hand, but also being able to take a step back and allow things to breathe, especially notable in the isolated harpsichord melodies that build upon themselves in a very satisfying fashion. Different Sides of Ascension is one of my favourite songs here for what it represents. It feels like the strong juxtaposition between the upbeat, pastoral atmosphere and melodies and the eventual uneasy sense of dread that engulfs everything in the song mirrors the creative experience in a lot of ways, and the give and take nature of it. Moments of amazing inspiration and greatness can feel followed up by self-doubt or bad circumstances, but what this song also highlights is that the beauty of that original spark remains just as powerful, with a constant sense of hope and passion being something important to hold onto. This sense of underlying beauty and optimism in even the darkest, bleakest sections of music here is ultimately what makes me appreciate this album as a whole so much, as it manages to feel so uplifting and empowering without feeling as if it's trying to mask challenging aspects of reality in art, it shows optimism without naivety, and I love that.

While the album as a whole finds itself following this pattern regularly, I feel like this emotional core focusing on an unflinching artistic drive is conveyed with enough power to warrant its length. Each individual track also contributes to the greater whole in the way that each one seems focused on capturing different points in the highs and lows in life. This is why you get tracks like part 2 of the title track feeling as impactful as they do. The central melody from the brass feels like it should sound very grandiose and majestic, yet it's filtered through this malaise, it sounds warped and wrong, as if it's a desperate attempt to reach a certain sound while feeling unable to actually achieve it. This tone is reinforced by the droning clarinet harmonies that are laden with minor imperfections and squeaks in a way that nothing else on the album is. As to not dwell too long on negativity, you've got an immediate jump into more energetic territory, but funnily enough, I am Sitting on a Pier cleverly lacks a strong sense of emotion for the most part. It's driven, sure, but it feels deliberately empty, as if it's moving forward for the sake of it, as if it feels obliged to, simple empty forward momentum, and as a result, this feels like one of the most impactful songs on the album that is strengthened by the way the remaining content of the album slowly introduces a warmer tone to complete the ultimately positive message that this pushes to the forefront throughout.

I feel like writing down my thoughts on this album have helped me appreciate it way more than I could have imagined . While this is texturally rather similar to Caress of Compassion, the meaning and message behind this, or at least what I gathered from it, feel so well-realised with this one. It of course doesn't hurt that the music itself sounds extremely solid, with its complexity bringing a lot of nuance into every facet of the album while sounding extremely elegant and tasteful in its presentation. It took a few listens for this to click with me, but I really love this and am looking very forward to whatever comes next .

Best tracks: Different Sides of Ascension, Follow After Meekness, I Am Sitting on a Pier

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Studio Album, 2021
4.00 | 1 ratings

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Unisali
Esa Kotilainen Progressive Electronic

Review by Matti
Prog Reviewer

— First review of this album —
Esa Kotilainen (b. 1946) is the most established Finnish synthesizer maestro. In recent years he has released synth- centred solo albums in a steadier pace than ever before, undoubtedly due to receiving an artist's pension in 2011. This new album has a reference to his debut Ajatuslapsi (1977), which was a groundbreaking work in the Finnish music scene: one could say it was the first Finnish ambient album, entirely realized by Kotilainen. That album's first side consists of a multi-part piece titled 'Unisalissa' (= In a Dream Hall), so Unisali can be seen as some sort of a sequel. However, this time he's accompanied by bassist Lauri Porra and drummer Anssi Nyk�nen, both top musicians of their instrument in Finland.

The 55-minute disc -- 'Himalaja' (10:47) is omitted on the vinyl version -- mostly consists of rather short tracks, many of them shorter than two minutes, but the whole progresses seamlessly. During listening it's difficult to be on the map of the individual tracks, and practically pointless too, unless you wish to follow the verbalized level of the musical journey instead of just listening to the music as music only. Here's some of the Finnish titles translated: 'Return to the Dream Hall', 'The Gate', 'The Guard', 'The Window', 'Dream of the Electric Bird', 'Electric Bird Garden'.

The continuation of the first five brief tracks is marvelous. The presence of the powerful rhythm section works extremely well together with Kotilainen's spacey and otherwordly synth soundscapes. You could think of the late 70's TANGERINE DREAM at their closest to progressive rock (albums such as Force Majeure) as one stylistic reference, but this album sounds completely timeless and original, not retro. Whereas Kotilainen's debut album was mostly atonal and minimalistic, this music incorporates melodies and rhythms effectively.

The sixth track titled 'Yst�v�' (= Friend) is, against its title, almost hostile to the ears with the brutal and rather ugly synth wailing that goes on irritatingly over four minutes. After that the sonic journey continues with mysteriously suggestive tracks 'Luola' (= The Cave) and 'Lintuluonto' (= Bird Nature). Porra's bass is very enjoyable on the latter. Birdsong is used also on the beginning of the following relaxed and dreamy track. For some reason tracks 9 and 10 are marked separately even though they're practically of the very same piece. Not that it really matters in the end, but the album could have just as well been divided in only a few tracks since the whole is a pretty seamless continuation.

The two final tracks get more meditative within their 9-11 minute lengths, slightly in the way both Vangelis and Kitaro have occasionally been within their longer tracks. New Age flavoured 'Kohti linnunrataa' (= Towards the Galaxy) has nice crystalline synth sounds while 'Himalaja' is in my opinion a bit tiresome and over-extended with its improvisatory synth soloing.

All in all Unisali is a great, adventurous and warmly recommendable work of electronic music with bass and drums guesting, even though the few weaker moments (especially the unpleasant 'Yst�v�') drop my rating to four stars.

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Studio Album, 2021
3.98 | 8 ratings

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Find the Others
Shiva The Destructor Psychedelic/Space Rock

Review by prog_traveller!!

In 2021 the first LP of the Ukrainian band SHIVA THE DESTRUCTOR comes out. The album contains five songs in which the aromatic, mystical and exotic psychedelia coexists in harmony with progressive rock, and even with a visit from stoner sounds. 'FIND THE OTHERS' is a concept album with melodies full of beauty and a lysergic atmosphere with a contemplative character. A work in which ethereal guitars are debated between clean and crystalline sounds in contrast to the diffuse, something, which is one of the endorsements of the album. The perfect arrangements of the songs make everything flow naturally in a spiral of soft sounds that are like a balm for the listener and that make all of them link together, so that the result is a work in which everything makes sense. 'FIND THE OTHERS' is a concept album based on the adventures of the main character, "Shiva", as he traverses the planet on a journey through the history of progressive psychedelic music. Throughout the songs on the album, Shiva travels around and through worlds, space, and time.

Throughout the songs on the album, Shiva travels around and through worlds, space, and time. He finally arrives on Earth in the 1960s and proceeds to wear distressed jeans and rock out at Woodstock. Then he chills on the beach to the sounds of surf rock, falls in love, wanders through virgin forests, immerses himself in self-reflective battles, and reconciles with himself on the outskirts of the universe. Shiva has fun, suffers, seeks and changes, like all of us. In addition to that, the album contains various references and tributes to legendary musicians and performers hidden among its grooves. That inspiration in different musical decades, makes its sound familiar to the listener. These brilliant musicians know how to create extended progressive suites of mainly instrumental music, with distinctly different tunings, which, together with that interplay of their impeccably intertwined guitars, uses the sound of the organ, as well as an oriental instrumentation, achieving an impeccably unique sound, similar to the wake up from a dream. 'FIND THE OTHERS' is a magical dream that, after listening to it, you will not want to wake up.

'FIND THE OTHERS' has been produced by SHIVA THE DESTRUCTOR, it was recorded by Vyacheslav Khabarov at Breadberry Recording & Rehearsal Music Studio and Concrete Foundation Studio (Kyev, Ukraine). Mixed and mastered by JARO SOUND (Prague, Czech Republic) Cover art is the work of Oksana.

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Studio Album, 2020
3.78 | 31 ratings

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Konkret Musik
G�sta Berlings Saga Eclectic Prog

Review by prog_traveller!!

G�sta Berling's saga seems to be slowly becoming professional, although the clearest indication of this would still be the fact that the last three albums up to the current "Konkret Musik" were released every two years. The noticeable accumulation of live albums lately could perhaps be explained in another way, but of course in a certain sense contributes to the fact that G�sta Berling's saga remains present in the public. In this respect, "Konkret Musik" would be an album that was expected with great interest, especially since "ET EX" was surprisingly electronic two years ago. How will this stylistic development continue?

The answer to this question is: consistent, but different than expected. On the one hand, the weighting in the overall sound on "Konkret Musik" follows this stipulation: The e-piano, which has been so present up to now, is largely replaced as a leading element here by synthetic, with which the motifs that form the basis of the compositions have recently been played. The accompanying guitar is also completely subordinate to this and can only be heard occasionally for a few whining or twang-like cues. Conversely, on the other hand, bass, drums and percussion put under pressure as ever. On the other hand, however, G�sta Berling's sagas do not maintain a sequencer-heavy retro electronics, as was perhaps to be assumed after "ET EX", but ultimately rather transfer their well-known style into other sonic environments.

The Swedes prove very impressively on Konkret Music that electronic music can be very varied. The album begins with the title "Sl�pad" whose underlying rhythm initially drives the music and lets it dash forward. It even sounds a bit cold and sterile at first, before the mood varies and becomes softer. With the second song "Vinsta Guldklocka", the impression of some kind of unrest is underlined and reinforced, but it is always resolved as the album progresses. It all ends in the twelfth and final number "A Question Of Currency", with which "Konkret Music" ends in a completely different way. Now the rhythm is only underlaid very gently, you can hear an acoustic guitar and a very sedate and soft melody, just right for the end credits of a film.

Again and again I feel reminded of film music while listening to it. A fast and rapid chase like the title "Basement Traps" appears in the mind's eye, while the calm after the storm, the deep breath and the feeling of new hope is best represented by "Close To Home". In the title track "Konkret Music" the plot then reaches one of its climaxes. The "hero of the film" survives some dangerous situations, the tension is driven to the climax. The impressions patter on the viewer faster and faster, oh pardon, the listener and you hold your breath. Is it still surprising when you think you're hearing police sirens in the next short piece, "Closing Borders"? With "To Never Return" the next exciting climax follows and our hero has more adventures to experience.

And so, atmospherically dense and varied, song after song is lined up and, in addition to these changing moods, we particularly like the interplay of electronic and analog instruments, but with a focus on the digital side. That sounds very convincing and consistent. And all those who also value catchy music and for whom melodies are important will also find what they are looking for on "Kokret Music". Because the music of G�sta Berling's saga doesn't sound too tricky on this album, the melody arcs are much more likely to catch your ears without any great detours.

Film music without film, many atmospheric twists, many images generated while listening, which let you immerse yourself beautifully in this music. You can experience all of this with the album "Kokret Music" by the Swedish band G�sta Berlings Saga.

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