Rock-Americana-Progressive Review: Euphoria-The Reverie Suite

Release Date: September 17, 2019

Label: Independent

Website

Euphoria’s second release titled The Reverie Suite was released in September 2019. This is the kind of music that can be hard to put into a corner and stick a label on. For my ears, that is a fine start knowing that I was in for a lot of diversity and surprises.

I would call it Rock-Americana with a Progressive twist, just as the band describes it. What is initially indicative of the progressive leanings is the length of the tracks.

The band explains the album like this: It is a concept album based on the life of vocalist Saskia who delivers her story with an earnest passion that’s hauntingly beautiful. Its theme is centered around childhood and musically presented with a sound that evokes America in all its beauty – whether it be folk, rock, jazz, or Native purple mountains majesty with progressive tinges.

I think that statement puts it all into a proper perspective for potential listeners. It serves as a looking glass into what you can expect. It is everything and more than one would expect actually. Saskia has a rich powerful voice that pulls you right into the story and holds you. The music is all very tasteful and well suited to the lyrics and vocal style of Saskia. Every track is a musical carpet ride that will capture your imagination. In a word, it is all quite cinematic. Choosing the recording to be a concept album worked well.

Hoyt Binder’s guitar is fantastic. He can be powerful with some meaty chords or tone it down to sound quieter and more textured. He also utilizes a banjo and mandolin to get that Americana element in place sandwiched in between his power strokes. I most certainly appreciate all of his work with the stringed instruments. His multitude of talent leads the way, inviting Saskia’s inviting vocals to come out and play with the music making it a complete experience for a listener. Her vocals were giving me goosebumps.

The Reverie Suite is engaging, precise, diversified, exciting, and filled with the many colors of the world and cultures. I sincerely appreciate that kind of take on a recording, it is always impressive and something you cannot forget. The musicianship is stellar. Ronald Van Deurzen adds the quintessential keyboard element while The Americana Daydream Revival Orchestra delivers background harmonies, flute, percussion, harmonica, bass, and strings, which in turn gives their sound a layered effect that makes each track a real musical journey. (I have included a list of all contributors below)

Their magnum opus is ”Paradise Road,” which clocks in at a hefty 9:42. With this one track, you get the whole package and stylings that this band commands in one track. It is quite impressive to sit back and hear everything going on. I loved every minute of it. The long instrumental breaks are a testament to this band’s all-around talent. This is the one track I would call definitively progressive. The way it ends so suddenly with Saskia singing “And paradise is her name,” puts the final touch on the elements of prog as the door shuts and you get ready for the next track (or another one opens).

Then you get the full instrumental track “Remind Me.” It is a delight, bringing a distinct Americana/Celtic flair to your senses, transporting the listener to a world stage. Getting the full instrumental treatment of their sounds encourages you to paint your personal picture on the canvas of their music.

The Reverie Suite may take a few listens to get it all into perspective, but I believe that any listener that has an appreciation for rock, prog, Americana, folk, or any combination thereof, will find great value in this album.

LINE-UP:
Saskia Binder - Vocals
Hoyt Binder - Guitars, banjo, mandolin, background harmonies
Ronald Van Deurzen - Piano, organ
Trevor Lloyd - Strings
Tollak Ollestad - Harmonica
Rebecca Kleinmann - Flute
Paulo Gustavo - Bass
Chris Quirarte - Drums
Mike Disarro - Background harmonies
Bobby Albright – Percussion

Mixed by Smiley Sean
Mastered by Howie Weinberg at Howie Weinberg Mastering

Keith “MuzikMan” Hannaleck

April 28, 2020

Founder of:

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MuzikMan Productions

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Review Provided By Prog Rock Music Talk

Track List: 
01. Prelude/ She's Calling 04:54
02. Reverie 07:12
03. On My Way 07:31  
04. Heartbeat 04:53
05. Bridge of Dreams 04:38
06. Queen of Hearts 04:47
07. Paradise Road 09:42
08. Move On 05:21
09. Seasons 07:00  
10. Reprise 03:24
11. Remind Me 05:44
12. Content 05:57

Crossover Prog Review: Kaprekar’s Constant-Depth Of Field

Label: Talking Elephant
Release Date: October 21, 2019

Website

Kaprekar’s Constant was formed in London in 2016. To be honest, it was more of a rock commune than a simple band, as it involved multi-instrumentalists, specific instrument musicians, vocalists (singing and spoken word), a painter, a photographer, and a web designer.

Songwriters and multi-instrumentalists Al Nicholson and Nick Jefferson started the ball rolling and the commune grew with Mike Westergaard (keys), Bill Jefferson (voices), Dorie Jackson (voices), David Jackson (saxophones, flutes, whistles, and bells), Phil Gould (drums, percussion, and djembe), Paul Gunn (spoken word), Sean Jefferson (painting), Will Hess (photography) and Sophie Butters (web design).

As I said, this group of individuals is so much more than a simple band. Keen-eyed prog aficionados will have noticed the presence of a name that has a real prog pedigree from way back, David Jackson, from the superb Van Der Graaf Generator, and Dorie, is his daughter.

The debut album, Fate Outsmarts Desire was issued in March 2017 and was a huge hit with the music critics, and indeed, for a debut, it was a stunning collection of tracks. Album No. 2 has now appeared, Depth Of Field, and picks up where the first album left off.

Depth Of Field is a 7 track album running to just under 68 minutes, with “White Star Sunrise” the longest track on offer at 23:43 minutes, and the final track, “Depth Of Field,” clocking in at just over 2 minutes (2:09), the shortest.

Kaprekar’s Constant play a very gentle, enveloping style of prog which encompasses folk elements and can be multi-layered and bring in beautiful arrangements. To try to make a comparison is difficult but the closest band is probably Big Big Train, but Kaprekar’s Constant has a uniqueness about them. The members involved in the new album are Bill, Dorie, Al, Mike, Nick, and David.

“Ghost Planes” (10:40) is track 3 on the album and is a superb piece of music together with some thought-provoking lyrics. Making use of the stunning musical abilities on offer, this track starts with the band grabbing the listener before using old audio clips and spoken phrases backed by a very simple piano passage that takes over. Enter the male vocal (Bill) to set the scene and the listener is transported back in time to when the German “Doodlebug” bombs rained down on London and other areas. The use of the female voice (Dorie) simply adds to the overall aural soundscape. By this point, around the halfway point in the track, the listener has been pulled in, hook, line, and sinker. The tempo builds up into a driving instrumental passage, maintaining the listener's interest before the music drops into the background allowing some more audio clips to be used. Not only do you get a superb melodic piece of music, but also a snapshot of a moment in history.

The epic track No 5, “White Star Sunrise” which stretches out to 23:43 minutes, traces the story of the vessels which comprised the Olympic class of the White Star Line. There were three ships, Olympic, which had a successful career as a large luxury ship, Titanic, which dramatically was lost on its maiden trip in 1912 and Brittanic, which was used as a hospital ship in WW1, which hit an underwater mine and sank in 1916. Each part of the 3-part story works wonderfully well and provides the listener with another glimpse into history. Musically, this suite is majestic, from the intro music to the sound effects of the sea and then onto the first main passage in such a way that the listener has already become immersed in the track. The male and female vocals again take turns and this adds another dimension to the superb flow of this track. Small guitar passages adorn the main theme and provide little hooks before a complete change of style, around the 6:30 minute point, when the music becomes folky with flute and whistles expertly interspersed by David J. The suite continues to ebb and flow taking the listener along on the voyage.

I was blown away by the debut album, but this release, Depth Of Field, has taken the band up a few more rungs on the excellence ladder. I have been asked a few times, in my alter-ego as a radio presenter, if I have come across an album I would describe as a “perfect 10,” and I still haven’t, although this release comes very close. As I have said, Kaprekar’s Constant is a mellow pastoral sort of bunch, but I would suggest getting hold of this album, settling down comfortably with the lyric sheet and you will discover a majestically crafted album worthy of inclusion in anyone’s collection.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
April 10, 2020

Tracks:
1. Rosherville Pt 1 (10:34)
2. Holywell Street (4:38)
3. Ghost Planes (10:48)
4. The Nightwatchman (6:10)
5. White Star Sunrise (23:43)
6. Rosherville Pt 2 (9:37)
7. Depth Of Field (2:09)
 

Crossover Prog Review: : Different Light-Binary Suns (Part 1 – Operant Condition)

Release Date: January 17, 2020

Label: Progressive Gears Records

Website
 

The band, Different Light, was initially formed in 1994 in Malta. The first of four albums were released in 1996, All About Yourself. In 1999, the band disbanded and later, in 2004, Trevor Tabone, an original member, reformed the band in the Czech Republic. Three albums have followed from this reformed band, Icons That Weep (2009), The Burden Of Paradise (2016) and the album in this review, Binary Suns (2020).

The current lineup of the band is Trevor Tabone (vocals/keyboards), Petr Lux (guitar/backing vocals), Jirka Matousek (bass) and David Filak (drums). Binary Suns has been an album I have looked forward to hearing, as the previous release I found to be a stunning work. It is fair to say that I have in no way been disappointed now that Binary Suns has been issued.

Opening the album is “Amphibious” (8:51) which is a mini-suite made up of four parts. This starts with a piano intro into a repeated passage that ebbs and flows and carries the listener along. Around the 1:30 minute mark, there is a simple piano theme, backed by a soaring guitar which leads to the vocals and a superb piano backing by Trevor. The melody is a real hook that builds up and moves along with those crystal-clear vocals catching the ear of the listener. Just before the 6:00 minute mark, the tempo drops to leave just the vocals and piano as the mainstay, before returning to the more involved melodious, harmonious part of the track. At just under 9:00 minutes, this is a stunning track, carried off and out with a superb piece of guitar work by Petr.

A shorter track, “Faith” (4:09) continues the harmonious smooth vocals so prevalent on the opening track. Although not too obvious, there is a hook that edges into your mind and “plants its feet firmly.” The piano again is the major instrument and I find it refreshing that it is the main keyboard used. More keyboards join the piano as well as some terrific guitar riffs. This is another superb track that fades out with the sound of a rainstorm. 

“Spectres And Permanent Apparitions” (21:31) is track three, the longest track on Binary Suns and is in seven parts. By this track, the listener should be aware that this is an exceptional album and the changes in tempo throughout the 21+ minutes merge smoothly and flow easily allowing the listener to drift along, immersed in the music. Little hooks are scattered liberally throughout the track and weave in and out, acting almost as touchstones on the 21+ minute journey. This is a band that works as a very tight unit and appears to be totally in tune with each other.

Binary Suns is a superb release and takes the amazing music contained on album 3, The Burden Of Paradise, to a higher level. It may only be March but I think that I have already found one of my “best of 2020” albums. All I have to say about Binary Suns (Pt 1 Operant Condition) is “do yourself a huge favor and buy it at the earliest opportunity.” I am close to 100% sure that no-one will be disappointed.

Jim “The Ancient One” Lawson - Prog Rock Music Talk Staff
March 31, 2020

Tracks:
1. Amphibians (8:45)
   a) Water
   b) Land
   c) Sky
   d) The Message

2. Faith (4:12)

3. Spectres and Permanent Apparitions (21:31)
   a) Ataraxia
   b)Two Shows
   c) Small Mercies
   d) Hand Of Providence
   e) BarBrera
   f) Synestesia
   g) Midas Gold

4. The Answer (3:47)

5. Two Faces (7:42)

6. On The Borderline (10.45)
 a) Talking To Strangers
 b) Seduction
 c) Obsession
 d) Vindication
 e) Demonic
 f) Now Just Go Away   

Progressive Metal Review: Epic Tantrum-Abandoned In The Strangers Room

Release Date: January 20, 2020

Label: ET Productions

Website

One look at the cover of Abandoned In The Strangers Room from prog-metal band Epic Tantrum and you are thinking prog. It is something similar to what you would have seen on a Pink Floyd album. The choice for a band name? One word, brilliant! I love it and the artwork is eye-catching and it makes you wonder what is underneath that mask. Is it a person, alien, or creature from some dark corner or from hell itself? If you remove the red cloth what exactly will you see, something that is going to have an Epic Tantrum? It leaves it to your imagination, which in effect, is perfect for the listener with a sense of humor and an off-center thought process. It is indeed a strange cover and a creepy title for the album. There again lies the mystery and your perception of the entire package, figure it out for yourself.

Let me tell you something about this band, this is my first taste of their music, and they rock with a definitive progressive twist. I would be willing to bet at least one of these band members listened to Zappa. Lines like “I’m gonna take your skull and make you look pretty,” are not for the faint of heart. The band members are all part of the “Tantrum” family that includes Peter (guitar, vocals), Paul (guitar, vocals, keys), Greg (bass, vocals) and Z (drums). When you are endorsed by a legendary figure in prog-metal like Mike Portnoy that is very telling. Mike said of “The perfect blend of prog and metal.” And that statement could not be truer.

With a total on 19 tracks and 2 CDs, you get a ton of great music. CD1 is the studio cuts then CD2 presents all the cuts live to show you that indeed they are for real. Epic Tantrum is explosive, quirky and melodic all at the same time. And this is exactly what makes them “progressive.” According to the band’s website, the first part of the album, Abandoned, features studio recordings of previously unreleased material. The second part, In The Strangers Room, features live versions of songs from Abandoned as well as material that appeared on previously released demos. That fact there is quite impressive knowing that some of the music is just demos? They are high-quality demos that is for sure. Again, this just shows how talented this band of men are, with limitless potential ahead of them.

They are juggernauts with a vocalist perfectly suited to the music. I have to be honest though, the first time I heard the vocals I did not care for it at all (I think most people that enjoy prog-metal will love this after the first listen). Then a second try, a different day, and now I cannot figure out why I did not like it to begin with. So, there you go, with music it depends if all the sensory doors are open to the sounds and you are not sidetracked with another train of thought with the inability to really “hear” the music. And did I ever hear it all this time? You can count on it. Their ability to play at a slower pace and make some beautiful sounds that are pleasing then immediately bust right out of that at any second and peel off some vicious guitar licks backed by a powerful rhythm section is quite impressive. To see them live must be a real treat.

The guitar work is fabulous and what drives this well-oiled machine. Every track is packed with the firepower to get your blood pumping but you can also pause, and should, to hear the incredible musicianship at hand. In the end, what you get to enjoy is one of the more exciting up and coming bands in progressive metal that are going to raise some eyebrows from this point forward.

Keith “MuzikMan” Hannaleck

March 23, 2020

Review Provided By Prog Rock Music Talk

Tracks

CD 1:
01. Don't Bother...
02. Unfold
03. Accessory
04. Fables Of Fortune
05. Outside The Wire
06. Into the Clutch
07. Letting Go
08. False Idols
09. A Howling
10. Abandoned

CD 2:
11. Baillee's Gone Again (Live)
12. Franklin Park Blues (Live)
13. Letting Go (Live)
14. Now I Know (Live)
15. Accessory (Live)
16. Fables of Fortune (Live)
17. The Artist (Live)
18. Don't Bother... (Live)   
19. Drown (Live) 

Progressive Metal Review: Epic Tantrum-Abandoned In The Strangers Room

Release Date: January 20, 2020

Label: ET Productions

Website

One look at the cover of Abandoned In The Strangers Room from prog-metal band Epic Tantrum and you are thinking prog. It is something similar to what you would have seen on a Pink Floyd album. The choice for a band name? One word, brilliant! I love it and the artwork is eye-catching and it makes you wonder what is underneath that mask. Is it a person, alien, or creature from some dark corner or from hell itself? If you remove the red cloth what exactly will you see, something that is going to have an Epic Tantrum? It leaves it to your imagination, which in effect, is perfect for the listener with a sense of humor and an off-center thought process. It is indeed a strange cover and a creepy title for the album. There again lies the mystery and your perception of the entire package, figure it out for yourself.

Let me tell you something about this band, this is my first taste of their music, and they rock with a definitive progressive twist. I would be willing to bet at least one of these band members listened to Zappa. Lines like “I’m gonna take your skull and make you look pretty,” are not for the faint of heart. The band members are all part of the “Tantrum” family that includes Peter (guitar, vocals), Paul (guitar, vocals, keys), Greg (bass, vocals) and Z (drums). When you are endorsed by a legendary figure in prog-metal like Mike Portnoy that is very telling. Mike said of “The perfect blend of prog and metal.” And that statement could not be truer.

With a total on 19 tracks and 2 CDs, you get a ton of great music. CD1 is the studio cuts then CD2 presents all the cuts live to show you that indeed they are for real. Epic Tantrum is explosive, quirky and melodic all at the same time. And this is exactly what makes them “progressive.” According to the band’s website, the first part of the album, Abandoned, features studio recordings of previously unreleased material. The second part, In The Strangers Room, features live versions of songs from Abandoned as well as material that appeared on previously released demos. That fact there is quite impressive knowing that some of the music is just demos? They are high-quality demos that is for sure. Again, this just shows how talented this band of men are, with limitless potential ahead of them.

They are juggernauts with a vocalist perfectly suited to the music. I have to be honest though, the first time I heard the vocals I did not care for it at all (I think most people that enjoy prog-metal will love this after the first listen). Then a second try, a different day, and now I cannot figure out why I did not like it to begin with. So, there you go, with music it depends if all the sensory doors are open to the sounds and you are not sidetracked with another train of thought with the inability to really “hear” the music. And did I ever hear it all this time? You can count on it. Their ability to play at a slower pace and make some beautiful sounds that are pleasing then immediately bust right out of that at any second and peel off some vicious guitar licks backed by a powerful rhythm section is quite impressive. To see them live must be a real treat.

The guitar work is fabulous and what drives this well-oiled machine. Every track is packed with the firepower to get your blood pumping but you can also pause, and should, to hear the incredible musicianship at hand. In the end, what you get to enjoy is one of the more exciting up and coming bands in progressive metal that are going to raise some eyebrows from this point forward.

Keith “MuzikMan” Hannaleck

March 23, 2020

Review Provided By Prog Rock Music Talk

Founder of:

The Final on Vinyl

MuzikMan Productions

MuzikMan Reviews

Write A Music Review

Prog Rock Music Talk

New Age Music Reviews

Rate The Tracks

Tracks

CD 1:
01. Don't Bother...
02. Unfold
03. Accessory
04. Fables Of Fortune
05. Outside The Wire
06. Into the Clutch
07. Letting Go
08. False Idols
09. A Howling
10. Abandoned

CD 2:
11. Baillee's Gone Again (Live)
12. Franklin Park Blues (Live)
13. Letting Go (Live)
14. Now I Know (Live)
15. Accessory (Live)
16. Fables of Fortune (Live)
17. The Artist (Live)
18. Don't Bother... (Live)   
19. Drown (Live) 

Prog-Rock Review: Wishbone Ash-Coat of Arms

Release Date: 28^thFeb 2020

Label: Steamhammer/SPV

Website

Wishbone Ash was formed back in 1969 and is still active at this time, as shown by the release of Coat Of Arms, the album under review. They have released 28 studio albums from the self-titled debut in 1970 up to this point. One original band member is still present, Andy Powell (vocals/guitar) and together with Mark Abrahams (guitar), Bob Skeat (bass) and Joe Crabtree (drums), the band has issued a very pleasing album.

Coat Of Arms is an 11 track album with a total running time of just under 60 minutes (59:55). The title track, track 2, is the longest on the album at just under 8 minutes (7:55) and the shortest track, track 9, “Deja Vu,” is just over 4 minutes (4:07).

As normal, I have chosen to highlight three tracks from the album which I find particularly good after several hearings, but this was a difficult choice as I found the whole album was extremely good.

I will always lead with the opening track which, regular review readers will know I think sets the scene for what is to come. “We Stand As One” (4:16), commences with a short drum intro leading into a simple, but insistent, guitar riff which the listener cannot ignore. The smooth vocals of Andy Powell are as good as I remember and the guitar riff takes its leave but returns as the track progresses. That guitar hook makes “We Stand As One” an excellent opening track and makes the listener eager to sample what follows.

“Coat Of Arms” (7:55) is the title track of the album and it is a guitar passage that starts this track, leading quickly into the clear vocals and moves to another guitar riff that hooks the listener again. Neat interplay between the guitars of Andy and Mark moves the track on and there is a sense of feeling very comfortable with what the band is doing. Around the halfway point there is a section of blues guitar which evolves into a more up-tempo, dare I suggest foot-tapping, guitar passage. Entering the last 2 minutes, the earlier guitar riff reappears and brings the track full circle before winding down to the ending. This is an excellent follow on from the opening track and although some of the upcoming tracks don’t have such obvious hooks, they are by no means there as fillers.

The final track on the album, “Personal Halloween” (5:38) starts up with that superb blues style guitar and is well served by Andy’s vocals as it evolves into a real southern laid-back slice of music. The dual guitars again weave their magic and this is one of my favorite tracks.

I will admit that my first listen to Coat Of Arms did not impress me much but by the time it had been played a couple of times more, those amazing guitar hooks had certainly embedded in my grey matter. I don’t think that the music “sets the heather alight “ and if you are looking for an album that will “blow you away” Coat Of Arms probably isn’t it. If, however, you give this album a few listens, I can almost guarantee that you will find yourself whistling, humming or even singing along to most of the tracks. This is an album that possesses the “feel good” factor, so give it a try, you might be very surprised.

Jim “The Ancient One” Lawson – Prog Rock Music Talk Staff
March 18th 2020
 
Review Provided By Prog Rock Music Talk
 
Tracks:
01. We Stand As One (4:16)
02. Coat Of Arms (7:55)
03. Empty Man (5:17)
04. Floreana (5:14)
05. Drive (4:55)
06. It’s Only You I See *7.35)
07. Too Cool For AC (4:51)
08. Back In The Day (4:46)
09. Deja Vu (4:07)
10. When The Love Is Shared (4:21)
11. Personal Halloween (5:38)

Progressive Rock Review: JJ Chardeau - In Terra Cognita?

Release Date: November 15, 2019

Label: L RECORDS, Muffin Records Productions USA

Website

A chanting overture, “Evolution,” leads into a battle-like track with “Dream In Moscow.” In Terra DCognita? (The Music of the Rock Opera Magic Musical Man) is a musical phenomenon. Not only is it an impactful recitation of wonderful instrumentation, but, the listener is gifted with a culture shock of all different languages and origins.

JJ Chardeau is certainly a man of uniqueness. As seen throughout this album, Chardeau does not limit himself to one particular styling or sound. Instead, he will push boundaries to see great success in his work and artistic expressions. For over 30 years, he’s been making Progressive Rock all his own and bending every rule he can.

“Dream In Moscow” is a beautifully written out build-up of battle or struggle. It begins as an illuminating piece, soothing the listener’s ear with a piano intro, as the orchestra and Chicago’s Danny Seraphine, along with Jethro Tull’s Martin Barre lending their voices to this piece amongst others throughout the album. “Black Taj Mahal” is a good contour for the prior track as the chimes, flute, and what sounds to be a triangle echo out a mental escape to a serene picturesque land.

“Farewell Lhassa” is another ode to a foreign area, China. One that offers up a more haunting vibe of chimes and an occasional gong and guitar riff. Voices arise of an alert message that conflict has now arisen and materials (missiles) have been stolen, almost as though someone has been compromised. This is followed up by another strictly instrumental piece.

Filled with the xylophone, keyboard, and drums to keep the rhythm in place, “DMZ” bridges the album together keeping a steady relaxed tone throughout the track. Leading into “Frisson Nippon,” is a thrilling, excitement lead-up of chimes and whistle-into-chant. It feels as though the song is taking the listener sailing through steady waters or hiking up to conquer some challenges on land or sea. “Les larmes du pacifique” starts as a tropical island getaway, going into a tragic song of tears and struggle.

“Nunavut,” is a hushed and fluted piece that has a god-like messenger speaking throughout. It sounds as though, a mission is being explained or what might be next to come on the listener’s journey, wherever the figure may be thinking of. Then we approach “The Last Rockaway.” It is different and fun from the rest of the record where it feels more like a classic rock n’ roll song. It asks of the individual’s humble beginnings as he is the sole person left of his own.

“Pablo Tequila” is a fun international song that throws even the most anti-dancer into a hip-shaking good time. It is a simple feel-good song that poses as a rarity for the record. Following that up, “Machu Picchu” is a strictly instrumental styled piece that has a very simplistic sound to it. A piano at the beginning and end, a flute, and some percussion give life to this song as it sends the listener through another conflict-to-resolution type of scenario; ending with a serene resolution.

Heading into what sounds like a Middle-Eastern piece, the majority of “Cabale Kabyle” is an easy, melodic tune that appeals well to the average listener. Towards the end there seems to be a bit of struggle or issue of sorts but, within a minute the struggle resigns to more of the strings ending the tune with peace. Next, “Walls of Lament” (the single off the record), gives a feel to me like a spy movie. It reminds me of where the spy or hero is trying to get past the laser-covered room to reclaim his stolen artifact. But, by the middle of the song, it becomes something back into a foreign land to adventure through thickets of fog as the listener wanders.

“Tchad” is probably the most complicated of the tracks to understand to a person whose only language is English. It sounds as though the vocalist is proclaiming the area their own. The fact that they will not go down without a fight shows their strength and resilience to protect what is theirs. This, combined with the finale of “The End” leads to a very powerful finale. The brightness and intensity show how to end a story properly.

Key tracks include: “Dream In Moscow,” “Les larmes du pacifique,” and “Pablo Taquila.”  

Gregg Keniston- MuzikMan.net Staff
March 8, 2020

Track Listing:
01. Evolution (Magical Musical Man Ouverture)
02. Dream In Moscow
03. Black Taj Mahal
04. Farewell Lhassa
05. DMZ
06. Frisson Nippon
07. Les larmes du pacifique
08. Nunavut
09. The Last Rockaway
10. Pablo Tequila
11. Machu Picchu
12. Cabale Kabyle
13. Wall of Laments
14. Tchad
15. The End? (Magical Musical Man Finale)
 

Progressive Rock Review: JJ Chardeau - In Terra Cognita?

Release Date: November 15, 2019

Label: L RECORDS, Muffin Records Productions USA

Website

A chanting overture, “Evolution,” leads into a battle-like track with “Dream In Moscow.” In Terra DCognita? (The Music of the Rock Opera Magic Musical Man) is a musical phenomenon. Not only is it an impactful recitation of wonderful instrumentation, but, the listener is gifted with a culture shock of all different languages and origins.

JJ Chardeau is certainly a man of uniqueness. As seen throughout this album, Chardeau does not limit himself to one particular styling or sound. Instead, he will push boundaries to see great success in his work and artistic expressions. For over 30 years, he’s been making Progressive Rock all his own and bending every rule he can.

“Dream In Moscow” is a beautifully written out build-up of battle or struggle. It begins as an illuminating piece, soothing the listener’s ear with a piano intro, as the orchestra and Chicago’s Danny Seraphine, along with Jethro Tull’s Martin Barre lending their voices to this piece amongst others throughout the album. “Black Taj Mahal” is a good contour for the prior track as the chimes, flute, and what sounds to be a triangle echo out a mental escape to a serene picturesque land.

“Farewell Lhassa” is another ode to a foreign area, China. One that offers up a more haunting vibe of chimes and an occasional gong and guitar riff. Voices arise of an alert message that conflict has now arisen and materials (missiles) have been stolen, almost as though someone has been compromised. This is followed up by another strictly instrumental piece.

Filled with the xylophone, keyboard, and drums to keep the rhythm in place, “DMZ” bridges the album together keeping a steady relaxed tone throughout the track. Leading into “Frisson Nippon,” is a thrilling, excitement lead-up of chimes and whistle-into-chant. It feels as though the song is taking the listener sailing through steady waters or hiking up to conquer some challenges on land or sea. “Les larmes du pacifique” starts as a tropical island getaway, going into a tragic song of tears and struggle.

“Nunavut,” is a hushed and fluted piece that has a god-like messenger speaking throughout. It sounds as though, a mission is being explained or what might be next to come on the listener’s journey, wherever the figure may be thinking of. Then we approach “The Last Rockaway.” It is different and fun from the rest of the record where it feels more like a classic rock n’ roll song. It asks of the individual’s humble beginnings as he is the sole person left of his own.

“Pablo Tequila” is a fun international song that throws even the most anti-dancer into a hip-shaking good time. It is a simple feel-good song that poses as a rarity for the record. Following that up, “Machu Picchu” is a strictly instrumental styled piece that has a very simplistic sound to it. A piano at the beginning and end, a flute, and some percussion give life to this song as it sends the listener through another conflict-to-resolution type of scenario; ending with a serene resolution.

Heading into what sounds like a Middle-Eastern piece, the majority of “Cabale Kabyle” is an easy, melodic tune that appeals well to the average listener. Towards the end there seems to be a bit of struggle or issue of sorts but, within a minute the struggle resigns to more of the strings ending the tune with peace. Next, “Walls of Lament” (the single off the record), gives a feel to me like a spy movie. It reminds me of where the spy or hero is trying to get past the laser-covered room to reclaim his stolen artifact. But, by the middle of the song, it becomes something back into a foreign land to adventure through thickets of fog as the listener wanders.

“Tchad” is probably the most complicated of the tracks to understand to a person whose only language is English. It sounds as though the vocalist is proclaiming the area their own. The fact that they will not go down without a fight shows their strength and resilience to protect what is theirs. This, combined with the finale of “The End” leads to a very powerful finale. The brightness and intensity show how to end a story properly.

Key tracks include: “Dream In Moscow,” “Les larmes du pacifique,” and “Pablo Taquila.”  

Gregg Keniston- MuzikMan.net Staff
March 8, 2020

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Track Listing:
01. Evolution (Magical Musical Man Ouverture)
02. Dream In Moscow
03. Black Taj Mahal
04. Farewell Lhassa
05. DMZ
06. Frisson Nippon
07. Les larmes du pacifique
08. Nunavut
09. The Last Rockaway
10. Pablo Tequila
11. Machu Picchu
12. Cabale Kabyle
13. Wall of Laments
14. Tchad
15. The End? (Magical Musical Man Finale)

Symphonic Prog Review: Marco Bernard & Kimmo Pörsti (The Samurai Of Prog)-Gulliver

Release Date: January 25, 2020

Label: Seacrest Oy

Website

This band was originally formed as a multi-national collaboration project in 2009, with Marco Bernard (bass), an Italian resident in Finland, Kimmo Porsti (drums), from Finland and an American multi-instrumentalist, Steve Unruh. The Samurai of Prog is this core trio plus guest musicians when required. The debut release appeared in 2011, Undercover, and the album now under review is No 8, Gulliver, a concept album released last month.

Gulliver is based on the novel by Jonathan Swift (Gulliver’s Travels), and deals with Gulliver’s adventures in 4 different lands.

 Only Marco and Kimmo from the core trio are fully involved in Gulliver as Kimmo explained to me that Steve was busy with another project and I think that it may be with United Progressive Fraternity (UPF). Steve does appear on some tracks and there are 21 guest musicians also involved with the release.

Gulliver is a 6-track album with track 2, “Lilliput Suite” running to just under 18 minutes and the final track, “Finale,” clocking in at just over 3 minutes. The total playing time is just over an hour (62 minutes).

As ever, a concept album makes picking out individual tracks difficult as the storyline continues through the album, but I will try to give a flavor of Gulliver.  A mention should also be made of the superb artwork on the 6 panel CD cover from none other than Ed Unitsky.

I always feel that the opening track is very important to “grab the listener by the ears” and set them up for what is to follow. “Overture XI” (7:42) is the opener and is an instrumental dominated by old-style key-boards and switches in tempo from thunderous keys to quiet, almost pastoral, sequences. This is symphonic prog at its best. A guitar appears to take the track onward before passing the baton onto Marek Arnold and his superb saxophone. As the track reaches its conclusion, the listener is presented with a dilemma, either to continue onto the following track or replaying that superb opening track. There is a difficult choice to be made.

The second track is the longest track on the album “Lilliput Suite” (17:53) and is split into 6 sections, namely I) The Voyage Of The Antelope, ii) Prisoner, ii) Inside The Emperor’s Palace, iv) Peculiar Tradi-tions, v) The Theft Of The Blefuscudian Fleet, vi) The departure, which sees more guest musicians em-ployed to add flute, violin, and trumpet. This is majestic music with the sweeping changes in sections, from full band involvement to moments of a more delicate nature linked by superb instrumental passages.

All in all, this is a superb release by two-thirds of the Samurai of Prog core trio and as the “Finale” ends, the listener should find themself marveling at the majestic swathes of keyboards, tight guitar passages and excellent flute/violin pastoral sections.

This is one of the best Samurai of Prog releases, and if you have not dipped into the Samurai of Prog music previously, then Gulliver is the one to start with. This is an album that should be found in any true symphonic prog fan’s CD collection.


Jim “ The Ancient One” Lawson – Prog Rock Music Talk Staff
March 3, 2020


Tracks: 
 1. Overture XI (7:42)
2. Lilliput Suite (17:53)
3. The Giants (8:42)
4. The Land Of The Fools (14:30)
5. Gulliver’s Fourth Travel (10:17)
6. Finale (3:11)
 

Progressive/Rock Review: Bernie Shaw & Dale Collins -Too Much Information

Release Date: September 13, 2019

Label: Bernie Shaw / Dale Collins

Website

Kicking off the album Too Much Information, Bernie Shaw is very bright and uplifting as "So Many Times" begins. The album reminds me a lot of the band Journey and their unique sound to 80's Rock. Longtime friends Bernie Shaw and Dale Collins team up to produce an album of seismic proportions. With the assistance of Ron Restall on drums and Jason Gardenits on the keyboard, the perfect blend of Blues and Progressive Rock chemistry.

The depiction of the artwork can be interpreted as a dawn of a new day, or as the light in the sea of gray. It sizes up to the tone of the record as it avails the roughness of the waves and the heaviness of songs like "Alone" and "Hey Jimi," while that glimmer of light shone beyond the sea reflects on a more positive note of "Here We Go" and "Rock On."

Running back on "So Many Times," the song captures a lighter side of Bernie Shaw, where he typically adheres to more of an intense Metal sound. It is an excellent battle between letting the light in, feeling good, and thinking there was more one could have made a better choice along the way. "Alone" is an immediate stark contrast. The song proclaims how the singer will now be operating daily life on his own, he cannot continue to carry the weight of his other half with no sign of change or improvement.

"Here We Go," keeps the beat of every traveler's anthem. However, the song speaks of an irritating, repetitious situation that he finds himself caught in the middle of. To me, it feels very much like hiking up an endless trail or mountain; albeit, it even reminds me of the scene in Rocky, climbing the Philadelphia stairs.

"Too Much Information," the title track, is a great bridge-like track. It is not too detailed or overly emotional. Rather, it is a pleasant earworm for guitar lovers everywhere. Contrary to the title, it doesn't feel like overload at all. I probably stand alone in this thought, however, it is nice to see an artist not make the title of the album his or her main focus.

We turn now to a darker note, but, it turns out to be my favorite track of the album. "Sad Song" possesses a great blend of Shaw's vocals and both Shaw's and Collins' instrumental technique. The song has a great way of rocking like the sea, building up like a solid wave and crashing into the shore, at the height of Shaw's chorus lines.

An excellent ode to the late, great Jimi Hendrix follows up a solemn track. Upon initial listening, one is safe to assume, this might be a more somber or even heartwrenching tribute. As the song progresses it is anything but. The song calls out to the spirit of Hendrix and does his honor well by majoritively dedicating this track to being an instrumental piece. One of the great kings of Rock music would be jamming right alongside Shaw and Collins if he were able to hear this today.

"Just A Little Bit" is a great in-your-face anthem of how someone can just try to break another person down in every possible way. The person being tormented wants nothing more than to see the damage right in front of their face. You can tell as the song progresses, the singer won't let this irritation get the best of him and builds upon the harm caused by the other party.

With that rise-from-the-ashes tune, we arrive at the final song of the album, "Rock On." It is a steady, fun track emphasizing the carefree spirit of the duo. The song solidifies what every musician, band, and concert-goer have in common; and that's to simply – rock on. When everything around you seems to be on sensory overload or you might just be feeling a bit down about something in life, the message is clear; rock on with Too Much Information.

Key tracks include: “Sad Song,” “Hey Jimi,” and “Rock On.” 

Gregg Keniston- MuzikMan.net Staff

February 19, 2020

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Track Listing:

1. So Many Times
2. Alone
3. Here We Go
4. Too Much Information
5. Sad Song
6. Hey Jimi
7. Just A Little Bit
8. Rock On