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Studio Album, 2019
4.10 | 24 ratings

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Schlagenheim
Home Kitchen One Shoulder Portable Dual-use Waterproof Waxed C RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

Pre-keys, pre-saxes, full-on guitar barrage.

The debut studio release from London's refreshing new prog-punk sensation. And the band lists Mahavishnu Orchestra as their #1 common inspiration!

1. "953" (5:20) a super-high energy song in the vein of 1970s punk and yet infused with the virtuosity and intellect of geniuses of the Robert Fripp / Les Claypool sort. The soft, pastoral passage in the second minute--over which Geordie begins singing--is so unexpected and yet, again, such a sign of this band's exceptional genius. Love the religious/psychological indictment of the lyrics. Great opener. Awesome display of power, youth, and control. There are metal bands who don't have this much coherence. (9/10)

2. "Speedway" (3:17) a rather simple though polyrhythmic song using a kind of ska-beat with instrumental craziness occurring around it while Matt talk/sings in a DAVID BYRNE-like "duplicitous reassuring husband" voice. Genius and entertaining. (9/10)

3. "Reggae" (3:29) the baseline two-chord riff within one of the main motif in this song remind me of something old and favored--I think something from an early 1980s XTC record. The abrasive industrial sounds are awesome reminders of a type of music that kind of came and went in the 1980s and 90s. (9/10)

4. "Near DT, MI" (2:20) one of Matt's songs--one that expresses outrage for the criminal acts that have resulted in the "acceptance" and attempted gloss-over of the lead poisoning of the public water systems of city of Flint, Michigan's (which is near Detroit, MI). Brilliantly composed, rendered, and vocaled (by Cameron when I saw them in concert: THE song that got the mosh pit revved up.) I'm thinking that, once upon a time a youthful Bill Nelson would have been proud of this song. A top three song, for sure! (10/10)

5. "Western" (8:08) a rather subdued, Country & Western-ized jazz song in which Geordie makes his first attempts to introduce his Elvis-like crooner alter-ego. At 1:45, however, the band has no choice but to inject some kind of prog- rock pulsation. The dark, violent lyrics are, in my opinion, a tongue-in-cheek parody of all C&W melodrama. It's awesome! At 5:40 there is a very sudden and dramatic "change of channels" from the abrasive cacophony that was building, to the bucolic C&W soundscape that opened the song. Nice front porch weave of folk-country music. (13.5/15)

6. "Of Schlagenheim" (6:24) this one opens in pure prog rock territory: every sound, effect, instrument, and riff is straight out of some classic psychedlic prog or prot-prog song (even LED ZEPPELIN!) Geordie's lyrics are delivered as if stream-of-consciousness, but I know they're not. An almost Canterbury-Gong section is beautifully rendered before switching back to bluesy LED ZEP--in fact,in several variations thereof. An awesome, simple awesome song. Another top three song for me. (9.25/10)

7. "bmbmbm" (4:56) the song that introduced me to this band. As you might imagine, it was a relationship of entertainment from the start--as well as one of respect for creativitiy. What came later--after hearing other songs by the band, was respect and awe at their musicianship. The point is, here, that she moves with a purpose. A bit sophomoric and yet also ingenius. (8.75/10)

8. "Years Ago" (2:34) What?! Peter Gabriel-esque World music? Or is it CAN or TALKING HEADS? Or some prog or death metal band? Great baseline groove from the rhythm section. This vocal is not Geordie. Could it be Matt? or Cameron? Whatever it is, it's awesome! (5/5)

9. "Ducter" (6:42) using a kind of minimalist Math Rock approach )as they will do more of on on their next album) to set the foundation for the showcase of the lyrics, Geordie delivers another idiosyncratic vocal performance that is half-crazed and half-angry, yet always entertaining. The intricate timing of every band member's performance here is quite a razor's edge to travel, but they do it with perfection--with enthusiasm and serious commitment--as they do in concert. An awesome display of whole band interconnection. (9.5/10)

Total Time 43:10

A-/five stars; a minor masterpiece of refreshing neo-punk eclectic Math Rock. An album I highly recommend for any music lover to hear: I believe that these are the future sounds of progressive rock music!

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Studio Album, 2021
4.92 | 3 ratings

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Le Myst�re du Gu� Pucelle
Alco Frisbass Eclectic Prog

Review by rik wilson

Alco Frisbass new release joins the other two as another in a line of incredible musics. These Frenchmen incorporate jazz,zeuhl,and Canterbury into an ever evolving amalgamation of pure delight. The first song "Le Mystere du Gue Pucelle" opens with a driving organ riff that sets the direction of the song. There is a playful bassline that the drummer follows with zeal and perfect accents. The music winds down about 3:33 ;then echo piano note brings the organ back for an interlude duet. Synthesizer squeaks and theremin waves about 5:00 begin the next piano / organ interchange. A more raucous faster tempo drum influences a country honky-tonk piano as it pushes the accelerated momentum.Heavy strings and popping bass round out the piece. Sinister echo chamber keys and random single note bass begins "Historie Diffuse". After creating a foreboding atmosphere, the music takes off about o.44 into the song; layered strings chord away while the bass takes on a lead role for a time-nice chops. The melody that develops reminds of an Alpine travel log commercial ;bright ,lively upper register keys roll out a nice bouncy rhythm. The bass and drums pound out an intense rhythm of fury. Then, a pause in direction begins with mid-tempo keys slowly shimmering with bass focusing the action. The rhythm changes into a sputtering array of varying lead lines interweaving to its ultimate conclusion. Yowza! "Selenite" bursts out with jazz lounge piano / bass rhythms. An organ adds to the mix as the tempo escalates; then slows through out the piece. The guitar utilizes high end single note progression to decorate and counter balance the keyboards. Mid-song some mellotron strings and voices appear with a robust onslaught of keyboard prowess. "Pulsar" begins with a funky bass / drum rhythm while a keyboard hammers out a incessant riff. An overlay of guitar work begins screaming for a while then an introduction of brilliant acoustic guitar mellows the mood. The tempo slows way down and some echo keys and guitar blend for a dreamy feeling of space is presented. Meanwhile; sweeping strings and wah-wah guitar push the song toward a jazz fusion completion. Double tracked guitar with country style Travis picking open "Alchemical Corpus". The drummer picks up on the country vibe and produces a country western drumbeat as accompaniment. This song is not the least country; but more a fast paced romp through thrillsville. As the piece progresses; more exciting theremin and zeuhl keyboard repetition played in different registers, creating a flowing direction from the organ. Swelling strings and martial drums finish the song. This is a great addition to the other two releases. A very entertaining collection. Masterpiece!

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Studio Album, 1974
4.31 | 3133 ratings

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The Lamb Lies Down on Broadway
Genesis Symphonic Prog

Review by Uruk_hai

Review #120

GENESIS last studio album with Peter GABRIEL came up in 1974 and it was released as a double LP: a conceptual album that has become an absolute classic not only in GENESIS discography but in the whole universe of Progressive Rock.

I have a weird relationship with double albums and almost any album that exceeds 50 minutes of length: I feel that in most cases double albums have a lot of filler songs and the albums get tedious and hard to process, there are some exceptions though: Pink Floyd's "The wall", Frank Zappa's "Joe's garage", The Who's "Tommy" and of course GENESIS' "The lamb lies down on Broadway" are examples of great double albums that never get boring or too long with the excess of filler songs.

Of course, not all the songs in such a long album are excellent but there is no single song that I could say is poor and I actually enjoy listening to the whole album at once. I don't listen to "The lamb lies down on Broadway" so frequently as I listen to "Selling England by the pound" or "Foxtrot" and that is why I haven't learned the album by heart and every time I listen to it, it is as if I was listening for the first time and I got amazed once again by its uniqueness.

I believe this record is not as symphonic as its predecessors, it seems more of a Hard Rock Opera album (not as Hard as "Tommy" but much more of an opera than "Joe's Garage"). What I love about "The lamb lies down on Broadway" is that even being such a highly loved and respected album, its songs are not as well known as the songs in other albums of the band, and that makes this an album for a more devoted audience.

This album was an excellent way of closing the GABRIEL era of GENESIS.

SONG RATING: The lamb lies down on Broadway, 5 Fly on a windshield, 5 Broadway melody of 1974, 5 Cuckoo cocoon, 4 In the cage, 5 The grand parade of lifeless packaging, 4 Back in NYC, 5 Hairless heart, 5 Counting out time,5 Carpet crawlers, 5 The chamber of 32 doors, 5 Lilywhite Lilith, 5 The waiting room, 5 Anyway, 5 Here comes the supernatural anesthetist, 5 The lamia, 5 Silent sorrow in empty boats, 4 The colony of slippermen, 5 Ravine, 4 The light dies down on Broadway, 5 Riding the scree, 5 In the rapids, 5 It, 5

AVERAGE: 4.83

PERCENTAGE: 96.52

ALBUM RATING: 5 stars

I ranked this album #35 on my TOP 100 favorite Progressive Rock albums of all time.

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Studio Album, 2021
4.18 | 70 ratings

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[ Compatible with MacBook PRO 13 inch (Model A1706 / A1708 / A19
Oopsy Daisy PE3056 Baby Orangutan Night Light, 5" x 4", Brown RIO/Avant-Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

Though I've been sitting on this album for almost five months, I simply must give it a review; people need to hear and re-hear about this band--the important contribution they're making to music and, in particular, progressive rock music.

There are some who want to question the veracity of the application of the term "progressive rock" to this band and their music. I urge you to see them live--even watch the videos of their live performances--but, if you can, see them live. You will be convinced. Not since seeing King Crimson on the Discipline and Beat tours have I seen such a stage full of virtuosos, each giving their all to each and every second of each and every song. And they're a band member short right now (guitarist/singer/composer Matt Kwasniewski-Kelvin is on mental health hiatus)! But, with the addition of a keyboard player (the hardest working, most dynamic performance I've EVER seen from a keyboard artist: Seth worked harder than the drummer!) and the ubiquitous sound of the saxophone (thanks to the amazing Kaidi Akinnibi) as well as the stepping up of rising superstar Cameron Picton, this is a band on fire, on the rise, and punching holes in the Crimsonian/MarsVolta universe of aggressive prog rock.

1. "John L" (5:14) opens like something straight off of THE MARS VOLTA's De-Loused in the Comatorium, but then turns PRIMUS in its vocal performance and dominant low-end sonic range. The odd-tempoed, stop and go music is flawlessly performed despite incredible intricacy and stark periods of absolute silence. Incredible! Then the song begins to slowly but steadily increase in its speed before the staccato structure and piano banging begins. Violin also plays an important role (substituted for by soprano saxophone in concert). Such a great double riff from Geordie to keep us anchored. (9.25/10)

2. "Marlene Dietrich" (2:54) What?! What did I just hear? Smoke-lounge crooning from Geordie Greep? Wow! What versatility and flexibility--not to mention the talent are we being exposed to on this album! Amazing! The strings and slide and acoustic guitars offer such a rich chamber feel. Music does not get much better than this--from any genre or era! We are not worthy! (10/10)

3. "Chondromalacia Patella" (4:49) opens with an abrasive and very odd-tempoed strum of an electric rhyhm guitar before drums and bass chords and saxophone screams join in to punctuate. In the second minute the music settles into a jazzy, Math Rock, KING CRIMSON/AZTEC CAMERA motif over which Geordie sings in his new CASSANDRA WILSON-like low-end crooning voice. In the forth minute, as the music turns full KING CRIMSON, Geordie snaps back into his more theatric tones and cadences--but then the music drives into a continuous upward-building chord progression. In concert, this song was played out into a much longer extended version in which the pulsating saxophone-led screams between vocal sections were responded to antiphonically by the audience. A real audience pleaser and concert highpoint. here in the studio album form, it is a perfect song to illustrate the band's grounding in what are truly progressive rock forms and sounds. I am certain that our hero, the Black Knight, Sir Robert of Fripp, and his arch-nemesis, William of Bruford would both be smiling in accord while listening (or viewing) this one (not to mention the Court Jester, Adrian of Belew, and the master stick-wielder, Tony the Bald). (9.5/10)

4. "Slow" (5:37) an awesome KCRIMSONian baseline structure over which Cameron performs the extraordinary vocal: at first whispering but later screaming at the top of his lungs. Horns/saxes play a key part in the power of this--but there are also some incredibly stark, beautiful jazz guitar passages over which Cameron whisper/sings. (9/10)

5. "Diamond Stuff" (6:21) opening with some simple guitar and bass notes, repeating ad infinitum--like a SCOTT WALKER or JOHN ZORN song (though I believe Cameron is the sensitive whisper-singer)--this gradually expands into an ethereal dream-cinema jazz tune (in he fifth minute!) Beautiful (and quite unexpected)! (9/10)

6. "Dethroned" (5:03) once again Geordie is deceiving us with his crooner voice (somewhat enhanced by effects). This is a song that I've heard performed live and seen/heard on videos of live performances and it always sounds different. On KEXP it was so powerful. Here it is great though much more "controlled." Live last night it got overshadowed by some of the other songs. Those final two minutes of orchestrated cacophony are amazing! (9/10)

7. "Hogwash and Balderdash" (2:33) again, controlled chaos--in a punk way. The lyrics might give it more impact than I'm feeling. (8.5/10)

8. "Ascending Forth" (9:46) a smooth, jazzified love song to ascending fourths--something that, apparently, everybody loves. (I know I do!) Geordie's SCOTT WALKER-like vocal performance is amazing. (Perhaps a lot of black midi's inspiration comes from Scott Walker?) Beautiful Spanish acoustic guitar (Cameron?) provides the sole foundation beneath Geordie's beautiful croon for the first two minutes Then full jazz-fusion band joins in with a MAHAVISHNU ORCHESTRA-kind of effect (and structure). I'm reminded of some of CASSANDRA WILSON's songs-- even down to the tone and timbre of her voice in comparison to that of Geordie Greep. Awesome and powerful. (18/20)

Originally, I did not want to review this album before posting one for Cavalcade's 2019 predecessor, Schlagenheim, but October 12th's concert prompted me thus. While I think that the music catalogued on Cavalcade shows a band moving forward, pushing boundaries--often in unexpected directions--Schlagenheim may have been better for the way it provided the first impression of a new band to the (progressive rock) music scene. But this album is definitely a step forward, a step sealing this band's place in the pantheon of Prog Greats and Last Great Hopes. The next album should be ... amazing.

A-/five stars; a minor masterpiece of progressive rock music and a shining star of what the 21st Century (as well as the first) has to offer Prog World.

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Studio Album, 1988
3.64 | 94 ratings

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Direct
Vangelis Prog Related

Review by TCat
Forum & Site Admin Group Eclectic / Prog Metal / Heavy Prog Team

The year 1988 rolls around and Vangelis had explored several styles during the decade, but really only released 4 major albums since 1983. I suppose that's not too bad, but the ground that he covered in those albums is quite impressive. In "Soil Festivities" he explored improvisation while remaining fairly close to his basic style, in "Mask" he utilized tribal rhythms, percussion, choir and pretty much started moving away from his style, in "Invisible Connections" he explored minimal music and impressionistic style and he also released an album with a vocal soloist (which, unfortunately, I have not heard yet).

"Direct" would be his last album in the 80's. At the time of it's release, the new age movement was getting a lot of attention, and Vangelis could have been in danger of falling into that movement. Though, he does dabble with the sound a few times in this album ("The Will of the Wind", "Metallic Rain"), he pretty much keeps himself from becoming one of its victims. This time around, he moves back to his older style, with melodic and beautiful pieces that also contain a lot of variety from one track to the next. There are some nice hints of electronic progressive sound in this album and some surprises that you almost wouldn't expect from him.

The Motion of Stars - Sparkling synth layers set this one off with another layer acting as a melody with sustained notes. Then we get a flashing sound running around across the speakers and it's almost like traveling through space. The melody gets more enhanced and brighter later on as the sparkling star sound plays on. The sound is crisp and clean. The movement soon stops and the mood becomes more sustained for a while before the synth loops start up again.

The Will of the Wind - This one has a bit of a Native American feel to it, probably from the flutes. It is also more melodic and accessible, but unfortunately, verges on becoming a bit too new age-y sounding. Not as intriguing or original as the first track.

Metallic Rain - This sort of follows easily in the previous track's style, but without the rhythm. It is more understated, but still continues with that new age style. Halfway through, a heavier sound and strong drum beat kicks in for the middle section, but it soon returns to the original style and then moves back and forth between styles.

Elsewhere ? This one is more along the lines of classic Vangelis style, a simple and lovely melody against a quieter background. Less of the new age feel and more like the Vangelis we love to hear with beautiful effects and trading off the melodic part of the track with different synth tones and colors.

Dial Out - This one does not appear on the vinyl version probably for space reasons. It has a steady beat and a nice melodic line that has a more Berlin School feel to it. The piano parts are nice as it moves to a symphonic style later on and then it continues to move back and forth between styles with some variation in the instrumentation effects.

Glorianna (Hymn à la Femme) - Wind effects bring in an operatic female vocalists. The synths are used to dramatize the vocals and rolling drums and crashing cymbals make it even more dramatic. The melody is wordless as the voices carry the melody which is quite lifting and lovely. It's nice to hear Vangelis borrow more from the classical style than trying to follow the new age style that was so prevalent at the time.

Rotation's Logic - This is a pop-electronica song and was probably considered as a single, I would imagine. It's a nice track, but follows a repetitive melodic riff with a catchy beat and tempting bass pattern.

The Oracle of Apollo - The harp is the main instrument in this lovely piece with synth bass and strings supporting it. Very nice and simple.

Message - This one is in a different track sequence on the vinyl version as it appears as the last track. A fast pitched voice speaks in indecipherable language as synth strings and a thumping drum builds a calm intensity. The track than takes on a symphonic feel as an organ appears with the strings which are in turn surrounded by nice arpeggio effects. This is a very cinematic track with a constant build throughout.

Ave - The rhythm is a bit more progressive and the style is more rock-oriented. There is an echo of 80's style keyboards in the supporting synth, but the synth-bass and the choir give it a nice tribal-lite feel. If the beat wasn't so heavy, it could almost pass off as a new-age track, but it isn't quite so obvious and still passes as a pretty good track, just a bit too commercial sounding though.

First Approach - A slowly sparkling synth line is established and eventually brings in a synthesized cello and, later on, flute. There is a synth-choir added too giving it a nice, celestial feel. Beautiful piece.

Intergalactic Radio Station - Again, this one is also missing from the vinyl version because of space issues. This also has the Berlin school/progressive rock style to it with a constant heavy beat and various synth layers playing key changes, background and melody, almost with a Kraftwerk feel to it. Later on, it becomes heavier as it takes on a thumping rock style before the harp takes over again and then a synth guitar comes in and the music becomes a slow- blues swing style with synth-brass which is a nice surprise. A spoken word vocal comes in at the last minute as the music plays to carry it to the end.

Overall, this is a very entertaining and interesting set of tracks from the master. He returns to his form on this one and that made many fans happy. But he does it without moving backwards. Instead he incorporates his style in mostly relevant sounding music that should appeal to many. Vangelis had a desire to create a series of direct to disc music and this was to be the first album of that series. In this series, Vangelis was to use his technique of shortening the distance between inspiration and realization by composing, arranging and recording simultaneously without any computer pre-programming. I don't know if this series of albums was ever realized, but Vangelis pretty much considered that his usual style anyway. Either way, this album still functions well on it's own and is a testament to Vangelis' versatility. If you can ignore the similarity of the two above mentioned songs that teeter on the edge of being new age music, this should stand up there with some of his best especially showing his versatility.

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Studio Album, 1973
4.32 | 932 ratings

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Zarathustra
Museo Rosenbach Rock Progressivo Italiano

Review by jamesbaldwin
Prog Reviewer

Museo Rosenbach has only released one album, this one. Because of the Years of Lead that Italy lived through (red and black terrorism), the cover inspired by Nietzsche and depicting the face of Mussolini resulted in great repulsions for this group, considered as fascist. In those years (1973) in Italy any difference in political views could degenerate into violence and the left movement to which prog music belonged did not accept Museo Rosenbach's Zarathustra. It didn't help to specify that the cover was a provocation and that the concept album had existentialist lyrics, Museo Rosenbach was boycotted by the underground movement that had launched Pfm, Banco, and Area, and preferred to disband before producing their second. album. It was a real shame because this group of talents was really very gifted and could have churned out even more masterpieces.

Side A

1. Zarathustra: - a. The Last Man (3:57) Beginning in crescendo on an epic theme, the music stops and the singing of Stefano Galifi arrives in the distance who, shortly after, sings a second verse (existentialist symbolic text) at a higher volume, until the initial epic theme restarts with a grandeur effect due to the use of mellotron.

- b. The King Of Yesterday (3:12) After the bombastic epic theme, Pit Corradi's piano outlines a horror film theme that then dissolves into a pastoral, melancholy motif (we're listening to excellent music) with a crescendo of Farfisa. Galifi's voice can be heard again in the distance but towards the end of the movement the music explodes and the lyrics prepare the advent of the superman ("Love your land, in the womb of him God will form"). Last jazzy notes that bridge with a tempo change for the next movement.

- c. Beyond Good And Evil (4:09) Whose name refers to another work of Nietzsche ("The man alone, far from God, cannot build his own morality ... From the morality that You have created nothing will rise")

- d. Superman (1:22) On a jazz tempo Galifi sings "The superman is alive". His voice, slightly hoarse, is sung with a lot of power and anguish, at times like an opera singer, and at times with an almost shouted voice, with an uncommon impetus in prog (present for example in Roger Chapman of the Family).

- e. The Temple of the Hourglasses (8:02) After the slowdown following the previous piece, the new movement continues with a math rock march. Golzi's drums in evidence in this piece and the Rosenbachs are keen to show that they know how to juggle every element typical of prog. Towards 6 minutes the rhythm stops, the Hammond organ plays the intro emphatically which brings us back to the initial epic theme of the first movement.

Masterpiece. Suite rating 8.5 / 9

Side B

2. Men (4:01) Slow start with the organ, then hard-rock electric guitar riffs (Enzo Merogno) which creates a grandiose and epic atmosphere. Changes of pace, accelerations in the style of British prog, it seems to listen to an assault on horseback. Slowdowns, and finally the voice of Stefano Galifi, the "wolf", who in fact seems to howl at the moon. Pause, the music stops, voice and Farfisa remain on a delightful background which, however, inexplicably fade out suddenly. Truncated song, it seems unfinished. It's a pity. Rating 7+.

3. Of Nature (8:24) Start with a frenzied pace, very daring. Then, as often happens with Museo Rosenbach, the music stops, and Galifi's strangled, very bluesy singing arrives, which almost always expresses a sense of existential anguish. Great syncopated instrumental piece, with frenzied rhythm and tempo changes. There are perhaps too many tempo changes between percussion and vocals, too many stop and go. Around 4 minutes a jazzy rhythm arrives (great work by Golzi and Corradi) characterized by onomatopoeic sounds. "Dawn comes from the virgin thirst of his mantle", Galifi sings almost desperately in a blues ending marked by Merogno's guitar. Rating 8.5.

4. Of the Eternal Return (6:15) More reflective piece than the previous one, which Galifi tells the sunset of Zarathustra. Corradi's Hammond conducts the piece together with Golzi's drums. "I die without hoping that something will be born, something will change, the road that I will know leads where man stops and where eternal return reigns". Galifi alternates moments of resignation with moments of desperate anger. Instrumental finale. Rating 8+.

Total Time 39:22

We are facing an ambitious concept album, with extraordinarily committed and serious lyrics, which outline the path of Nietzsche's superman. A compact disc also musically, guided in particular by Corradi's keyboards and mellotron, by Golzi's drums and by the very expressive and ductile voice of Galifi who, together, sign a composition of epic melodic rock, which alternates reflection with anger and desperation, in an almost expressionist way. The quality of the second side is slightly lower than the first but without falls, the only mistake is the brevity of the first song. Maybe some solos are missing, the group prefers the team game.

Small masterpiece. Rating 9. Five Stars.

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Studio Album, 2008
4.00 | 1 ratings

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Electric Fairytales
Wintherstormer Progressive Electronic

Review by prog_traveller!!

— First review of this album —
One year after "Woodwork" was released, Terje Winther and Erik Stormer released another album from their WintherStormer project, "Electric Fairytales". As on the previous CD, a quartet is also active here, the two keystrokes from Atle Pakusch Gundersen and Geir Marthin Helland are supported tonally, especially on electric guitars and all kinds of percussion.

"Electric Fairytales" was recorded live in the studio in January and March 2008. Despite (or because of) the lack of overdubs and subsequent processing, the music comes out of the speakers very fresh, multi-layered and dense, and extremely colorful and dynamic, classic-electronic-progressive tones work their way through the ear canals. Sometimes repetitive and sequencer-dominated (as in the introductory "cucumber salad", sometimes with a spacey and cosmic sound-painting (as in the subsequent "for the love of all things electronic"), the music comes out of the speakers, but is achieved through the formative contributions of guitar and drums again and again very rocky realms and indulges in a powerful electro prog with its own character.

In "Rising ashes", electronic meshes are woven in a very free format, beveled and improvised, which are reminiscent of the experimental origins of the genre in the 50s and 60s of the last century. After a good 6 minutes, however, multi- layered sequencer patterns work their way forward, which, supported by the drums, drive the music back into the electro-prog field. The final section also offers mainly free blending of notes, wafts and reverberates informally, sometimes underlaid with bizarre vocoder parts, all in all very angular. You wait in vain for pulsating sequencer patterns, because mostly powerful roaring and bulky, growling electronic patterns determine what is happening. A rather disturbing and dark SF fairy tale was set to music here.

"Electric Fairytales" is hardly inferior to its predecessor and offers progressive electronics that are as colorful as they are powerful, which lovers of such sounds should have a lot of fun with, provided they have no aversions to freer sound tinkering and occasional weird, avant-garde interludes.

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Studio Album, 2007
4.00 | 1 ratings

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Woodwork
Wintherstormer Progressive Electronic

Review by prog_traveller!!

— First review of this album —
Electronic music is also made in Norway. So, not just experimental "stuff", but classic retro electronics in the spirit of the Berlin school. WintherStormer do exactly that and they come from Oslo. The band name obviously goes back to the main protagonists who started the project at the beginning of the new millennium. They mostly worked as a quartet, which usually included the guitarist Atle Pakusch Gundersen and the percussionist Geir Marthin Helland.

After a self-produced CDR ("Live 2007"), the first "real" CD was also released in 2007. Classic, very full and dynamic electronic sounds come out of the speakers, vintage synthesizer sounds, pulsating sequencer patterns and all sorts of other bubbling, beeping, howling, booming, honking, floating and shimmering key and electronic sounds. WintherStormer give their sound creations own character by adding electric guitar lines, all sorts of bell-like and jingling percussion and sometimes a drum kit. The latter in particular gives the music a very rocky atmosphere. A lot here is rock ... or better: dynamic electro prog.

The tonal result is extremely powerful and driving, as the introductory "Pure analogue forever" shows, which after a mighty swirl of sound in the second half is very moving and gushing out of the speakers. Free-format clay tinkering defines "Musical equitation extracted from firelogs", which is quite experimental and sloping, but also very powerful and voluminous. "Engraved" then offers bulky rock, integrated into repetitive, pulsating electronics. The long "Monochrome" is the highlight of the album, after all, the typical Berlin number, long surging over a classic sequencer pattern, soon transforms into an extremely powerful, sometimes rather wild electro-prog jam, which despite its long duration never gets boring and rocks extremely dynamic in the second half, driven by sonorous growling bass sounds and hearty howling and pinging e-guitar interludes.

"Woodwork" is a very successful disc with spacey-cosmic, almost classic retro electronics with a very authentic sound, which gets its own character through the extensive use of guitars and percussion and glides forward very colorful and varied, but at the same time extremely powerful, voluminous and dynamic . For example, anyone who appreciates the Schulze records with drum accompaniment should test "Woodwork" urgently.

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Studio Album, 2021
4.91 | 4 ratings

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Transversal
Aeon Zen Progressive Metal

Review by Rivertree
Special Collaborator PSIKE Team & Band Submissions

Now it occurs that I actually will write some words about the final album coming from this band. Yep, recently they have announced their disbanding. Yet, most certainly, it was the decision of mastermind Rich Gray (formerly Rich Hinks), I would say. He's the one who has initated this prog metal project AEON ZEN back in 2008. It was the excellent 2012 album 'Enigma' which caught my attention especially. I really liked it. The following productions though didn't light a new fire anymore. Filed by me under technically too clean and overambitious, if I remember it right. Anyhow, on this occasion, concerning the main appeal, the provided epic suite Transversal somehow showcases a throw back, in a positive sense of course. The compositions included are touching me all the way through again.

And so this actually may provide a perfect closure to the band's history, but alternatively could be a strong argument for a continuation in the same way. For Rich Gray 'Transversal' means 'now it's time to make a change'. One may regret that, okay, but it's not to us to question this move. Period. Alistair Bell (lead guitar) and drummer Steve Burton are on board here again. Furthermore, excellently arranged vocals provided with slight opera feel are predominantly coming from Andi Kravljaca as usual. Concerning some choir arrangements you will detect Tom de Witt being involved, and this goes for the cover picture too. Which is intended to showcase elements of every previous band album artwork. Well, I still have to try harder. Musically they are drawing on influences from Dream Theater, Cynic, Threshold, Symphony X and similar bands acting in best form.

EP or regular album? - this goes for a total playing time of 30 minutes. A suite is recommended to be handled in one go, of course. Consequently all parts are fading into each other. Let me file this under bombast prog metal in its entirety. Here we have a highly entertaining chain of song pearls. Featuring much drama appeal and serving some Queen touch, slicing and crashing guitars all over, powerful rhythm section, and ambitious multi-layered vocal arrangements. The opener Twilight alone marks a best prove concerning trickiness and beauty. And furthermore the album's flow is simply amazing! Just as if they have kept the best until the end, their masterpiece, nothing else. Chapeau! 'It still lasts forever ...', yeah, the closing song sums it all up. Bye AEON ZEN, and Happy Beginnings for the new era, Rich!

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Studio Album, 2015
3.89 | 38 ratings

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The Sun Is New Each Day
Armonite Rock Progressivo Italiano

Review by prog_traveller!!

Jacopo Bigi (violin) and Paolo Fasso (keys) are two Italian musicians who have been making music together since their school days. They are now classically trained, seasoned musicians who have revived a joint project from their early days. For Armonite they were also able to secure the services of Porcupine Tree bassist Colin Edwin and the exceptional Dutch drummer Jasper Barendregt.

On their debut album "The Sun is New Each Day" Armonite offer a little more than half an hour of creative, varied instrumental music. Whirring and shimmering keyboard sounds and violin passages form a tangled network of all kinds of instrumental lines. The foundation is laid by Edwin's grumbling bass with melodic runs and Barendregt's bustling, dynamic drumming. Sometimes you can hear a guitar, but that will probably be a synth sound too. The cello and the electronic whine, on the other hand, are real, thanks to the guest musicians. You don't know who is responsible for the occasional interspersed speech passages (but don't worry, they don't happen often). In addition to Prog Rock and Jazz Rock, there is certainly still Art Rock as a further ingredient, and its playful and intertwining elements can be found again in the design of the arrangements with these beautiful melodies. Entertaining, colorful, varied, rousing instrumental music on a technically impressive level.

If the music is mostly very lively, there are also very quiet moments, just listen to the rather melancholy "Le Temps Qui Fait Ta Rose". A promising debut that makes people want more of it.

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