(234:21; Fruits de Mer Records) Track list: 1. Jah Buddha: Direction Berlin 12:56 2. Craig Padilla and Marvin Allen: Aquatic 7:47 3. Trace Imprint: Flow and Connect 10:25 4. Maat Lander: Ocean Of Tenderness [originally by Ashra] 4:15 5. Saturn's Ambush: Van Allen Belt 6:19 6. Jack Ellister: Der Schiffer 2:35 7. Anton Barbeau: Berlin School Of Doubt 6:36 8. Exedra: Exoplanet Transit 5:56 9. Mac of Bionight: Scars 6:54 10. Under Golden Canopy: Under Golden Canopy 10:35 11. Son of Ohm: Pixies 11:51 12. Craig Padilla and Marvin Allen: Weathering The Storm 10:15 13. Brendan Pollard: Sequenzerzeit 10:10 14. Jay Tausig: Triangulum 20:42 15. Mac of Bionight: Manmade Horrors 6.45 16. The Lost Stoned Pandas: Track One (Metal Mickey mix) 4:42 17. Jah Buddha: Wall Of Blissando 11:28 18. Vibravoid: Im Zentrum Des Kosmos Ist Ein Auge Das Alles Sieht 10:31 19. Trace Imprint: ...As We Walked Under Water 4:59 20. Sula Bassana: Shushie's Reise 21:32 21. Craig Padilla: Galaxia 11:06 22. Helicon W

(45:03; Bad Elephant Music) This is the fifth album from McKechnie, but the first I have personally come across. He is a multi-instrumentalist, and apart from guitar solos from Mike Flynn on the opening epic “The Origin Of Species” and drums by Adam Riley on both that and the title track, he sings and performs everything himself. This is his first album from BEM, and I am somewhat surprised to discover no reviews for this on ProgArchives as the album has been out since March of last year (I am still playing catch up, badly). Musically this is crossover prog, but with plenty of looks back to the Seventies, while also bringing in jazz, classical and other forms. Anyone who is prepared to start an album with a track which is more than 20 minutes in length is obviously someone who stands by their own convictions, although in fairness this is heavily sectioned so in some ways it does feel more like a collection of connected songs as opposed to just one song with repeated motifs and themes.

(37:43; Moonjune Records) Although it may seem at first glance that what we have is a quartet, here they are operating as a quintet with the addition of Magic Malik (Ivory Coast, flute). Bosnian born and Paris, France, based drummer, keyboard player, composer, arranger, and educator Srdjan Ivanovic is the band leader, and the line-up is completed by Andreas Polyzogopoulos (Greece, trumpet), Federico Casagrande (Italy, guitar), and Mihail Ivanov (Bulgaria, double bass). As one can see, this is a truly cosmopolitan outfit, here all working in the common language which is jazz, yet all bringing in their own references and experiences. Recorded in just two days, all the tracks were written by Ivanovic (alongside one co-write with Polyzogopoulos) apart from two numbers from none other than Ennio Morricone. One of these, “Man With a Harmonica”, was the theme for Sergio Leone’s ‘Once Upon a Time in the West’ (Henry Fonda, Charles Bronson), and the trumpet is incredibly poignant as Srdjan allo

(56:48; Cuneiform Records) A few years back I was devastated when Cuneiform Records decided it was time to leave the music business after years of releasing uncompromising and challenging albums, as well as incredibly important ones (such as the collection of very early Kansas material which directly to the reformation of much of the original line-up as Proto Kaw). I was luxuriating in the incredible boxed set of Art Zoyd’s ’44 ½’ (an album I still play a great deal) when I heard the news, and was massively upset, but eventually they made a return and in many ways it is as if they have never been away. Their remit is still to release music which is challenging and uncompromising, and that is exactly what we have here with the sixth album by Thumbscrew, the trio comprising Tomas Fujiwara (drums), Mary Halvorson (guitar), and Michael Formanek (double bass and electric bass). Late in the summer of 2019, the immediate plan was for the trio to rehearse and record a disparate program of Anth

(84:38; White Knight Records) I have long run out of ways to describe Pete Jones, as this multi-instrumentalist, singer, composer, continues to deliver wonderful albums under the name Tiger Moth Tales, as well as also being keyboard player with Camel and Francis Dunnery’s ‘It Bites’. Normally Pete records his albums at home, providing all the instrumentation himself, but this time he went for a different approach and instead based the album on a grand piano. He, of course, also provided some other bits and pieces, and he was assisted by Rob Reed (Magenta) with guitar and bass, while distinguished Welsh composer Ian Lawson created musical scores for a string quartet. This is not bombastic prog, but rather is music that has been crafted and honed, and to be perfectly honest is simply beautiful. With a piano always the base, we find Pete at times somewhat melancholy, others joyous, and it was somewhat surprising to discover just how many songs sound influenced not only by classic Genesis,

(65:00; Purple Pyramid) Recorded in 2009, this album is available in multiple different formats, including swirled vinyl and a CD/DVD set etc. As one may be able to work out from the album title, this is a live run through of one of his most controversial albums, at least when it was first released back in 1973. His previous album, ‘Something/Anything/’ had charted well in multiple countries, and spawned some hit singles, but this saw him undertaking far more inventive paths, something which was exacerbated by his experimentation at the time with psychedelic drugs. Many Todd fans now look back on this very favourably indeed, while I have always felt there is some very strong material contained within but others which are not as good, so a rather inconsistent release. Needless to say, this means that this album contains the same flaws and strengths as the original, but he has surrounded himself with a strong band and there is no doubt that the crowd in Akron, Ohio, had a great time. Min

(46:50; Krigssång HB) Trettioåriga Kriget (Thirty Years War) were formed in Sweden in 1970, and were active through that decade before breaking up in 1981. There were a few reunion concerts in the Nineties, before they reformed, and they have been active ever since. Their Seventies albums were reissued in the early 2000’s, when I reviewed them, plus I reviewed their 2004 album ‘Elden Av År’ but must confess to having lost contact with them since then and have missed out on the three studio albums between that and this their newest, released in 2021. One thing which is incredibly unusual, is that while not every person involved in this album was there in 1970, or even played on every album they have released, the “new boy” is keyboard player Mats Lindberg who has only been with the band since 1977! One of the real joys of this is that it is very much a progressive album which could have been released by the band in their first decade, with traditional sounds and approach. But they are n

(68:57; iapetus) When one sees that Trey Gunn of King Crimson, Markus Reuter of Stick Men and Frédéric L’Epée of Yang are involved in a release then one generally thinks it is going to be something which is way out in left field and interesting. Although in many ways this sounds like an improvised album it was brought together over a period of years, with different musicians coming into the project as it developed. Apparently, it is a concept album based on a traditional prayer but given that most of this is complex instrumental this doesn’t really come through for me. This is music as art, and band leader JP Rossi states that “The idea is to create an uncompromising sound, basically something that would not be heard anywhere else – at least as such, since we all only recycle”, and in that matter they have definitely achieved what they set out to do. Whether I want to listen to it is another matter altogether. I have a great amount of respect for the musicians involved in this project,

(50:54; Moonjune Records) Whenever I receive a new album from Moonjune Records, I always know it is going to be interesting and I look forward to playing it even if I have no idea who the artist is. Again, that is the case here, as this is the latest album from the quartet featuring Vasko Atanasovski (alto & soprano saxophone, flute (Slovenia)), Simone Zanchini (accordion (Italy)), Michel Godard (tuba, serpent (France)), Bodek Janke (drums & tabla (Poland/Germany)) plus special guest, Vaskos’s son Ariel Vei Atanasovski (cello (Slovenia)). Even before listening one can see this is going to be interesting as there is no bass but instead, we have a tuba, the cello is bowed, we have some unusual jazz instruments in serpent and tabla, while the accordion always gives jazz a certain air (always makes me think of Paris to be honest). Simone and Vasko have been working together in different forms since the early 2000’s, and Simone is the only other remaining member of the quartet forme

(56:59; Frontiers Music) I always felt that 3, the band formed by Keith Emerson, Carl Palmer and Robert Berry was tremendously under-rated and their solitary album a triumph (I also feel the same way about Emerson, Lake & Powell). Everyone was amazed when news came out that Berry and Emerson had been writing together again and there were plans for a new ‘3’ album as ‘3.2’. Sadly, that was never to be during Emerson’s lifetime, but Berry then sat down and recorded the planned album on his own, bringing their ideas to fruition and the result was the excellent ‘The Rules Have Changed.’ Most people think of Berry as a guitarist, singer and songwriter, yet he is a full-blown multi-instrumentalist, one of the very few who are an accomplished singer as well as musician. No-one really expected another 3.2 album, but there was the small matter of “Never”, the last song written together by Keith and Robert, so what to do with it? The answer was to write and record another 3.2 album using sou

(121:00; Spirit Of Unicorn Music) On March 11th, 2011, Keith Emerson died, leaving behind an immense musical legacy. Five years later, to the day, and Cherry Red Records released a 4-disc CD/DVD set of the concert which took place in May 2016 as tribute to the man who had impacted on so many others. Performers on the night included Steve Lukather Brian Auger, Eddie Jobson, Jordan Rudess, Steve Porcaro, Jeff “Skunk” Baxter, Vinnie Colaiuta, Marc Bonilla, Gregg Bissonnette, CJ Vanston, Troy Luccketta, Rachel Flowers, Terje Mikkelsen, Philippe Saisse, Joe Travers, Travis Davis, Ed Roth, Jonathan Sindelman, Mike Wallace, Mick Mahan, Karma Auger, Rick Livingstone, Kae Matsumoto, Aaron Emerson, Dan Lutz, and Michael Fitzpatrick, playing not only ELP but music from throughout his career. It must have been incredibly hard to choose the material to be performed that night, as well as deciding on the musicians (I am somewhat surprised to see names missing I am sure would have been involved such

(47:04; Inner Nova) Subtitled ‘Solo Piano and Ambient Soundscapes’, this is a beautiful solo album from Circuline and 3.2 keyboard player Andrew Colyer. The subtitle pretty much tells you all you need to know about this, bringing together elements of Roger Eno’s excellent ‘Fragile’ album, the work of Roger’s brother Brian, plus some of the more ambient pieces from Wakeman. The result is an album that is often played on the highest reaches of the piano, with space and reflection being an important part of the process. This Is not music to be played when the listener does not have the time to really listen, as it is only by paying close attention that the true beauty really shines through. It demonstrates there is no need for massively complex technical performances, but rather it is all about the melody and how the music makes the listener feel as they interact with it. Some of the songs have been remastered from earlier recordings, while some are improvisations, but all contain the inn

(36:40; Bomis Prendin) Originally released in 1986 in an edition of less than 25 handmade cassettes, the music has been remastered by Javier Roldón, and now has been made more widely available. I think it is important to include here the disclaimer they have on their website, “The first time you listen to the music of Bomis Prendin, you might not like it. You might even hate it. But it will be too late by then. Because Bomis Prendin’s music contains powerful psychoacoustic resonant frequencies that actually alter your brain waves as you listen. The result? Soon, you will love Bomis Prendin’s music; in fact, you will find yourself growing anxious and unhappy when it isn’t playing somewhere in your environment. In addition, you will soon begin to find all other music flat, artificial, sterile and unsatisfying. This is an unavoidable “side effect.” Believe us, you will not miss the music you have been listening to.” You might have guessed from the disclaimer above, that this is not mainst

(51:19; Carl Weingarten) Carl Weingarten is an American guitarist, photographer, and founder of the independent music label Multiphase Records. He has been releasing albums for 40 years but when it came to record this one, he describes it as starting out anew, as he was not in a studio collaborating with other musicians but instead was working on his own due to the pandemic. This led to him undertaking what was for him a new way of recording, building many of the layers himself before contacting colleagues who were able to contribute remotely. These included Michael Manring (bass), Ulrich Schnauss (synthesizers from London), Kit Walker (piano from Uruguay), Tate Bissinger (vocals), Pete Calandra (keyboards from New York), David Udell (guitar) and Walter Whitney (keyboards), his Delay Tactics bandmates from St. Louis. The result is an album which is thoughtful, reflective, with an inner beauty. Here we have well-constructed arrangements where the guitar is the central point, but rarely

(76:38; Progressive Promotion Records) Back in the Nineties I became aware of Mexican band Cast (this is pre-internet remember), and from somewhere I was sent the first four albums to review. They blew me away, and I then managed to get in touch with the band who sent me their current album ‘Beyond Reality’. I loved their music but somehow lost contact again, and the next album I heard was 2017’s ‘Power and Outcome’, which I gave top marks. Now I have in front of me their last album, ‘Vigesimus’, and it took me a while to get it to the player. The reason for that is I always have way too much music on my plate to review, and I know there is every likelihood that a new Cast album will become a problem in that I will just keep playing it to the detriment of everything else I have to listen to. As soon as it started, I knew I was in trouble, as it was clear from the very beginning that this was yet another superb piece of work from the guys. Formed in 1978 by keyboard player Alfonso Vidal

(54:30; Checking for Echo Project) I am not sure I will ever get used to how small the world is these days with the advent of the internet and instant communication. When I was contacted about this album by Jon Farley, he listed a number of people who were involved and I saw the name of Michael Brown (Outside In), so I made the assumption that Mikey had passed on my details. Turned out it was Martin Haggarty from Long Earth, so I was incorrect, not for the first time. I am glad that Martin did though, as this virtual band have released an album which is an absolute delight. Jon is a multi-instrumentalist, having played in many obscure bands over the past 40 odd years, but in 2011, he was diagnosed with refractory, chronic sarcoidosis – a disease that has damaged many of his body’s organs, and especially his lungs, and mental and physical coordination.  In 2014, he moved from the South of England to Moray in Scotland to escape the air pollution and set about recording music in his home

(46:47; Bad Elephant Music) There is just no way that this can be the third album from a Greek band, as surely this is a long-lost British act from the early/mid Seventies. I mean, the obvious reference points straight out of the hat are Gryphon and Gentle Giant, they don’t get more British than that, with some elements of Renaissance, Tull, Hatfield, but never a whiff of Vangelis or Aphrodite’s Child! I just made a quick check over to ProgArchives to see what the most highly rated Greek progressive album of all time is, and I was somewhat surprised to see that it is actually this one! I really thought it would be ‘666’, but rather aptly that is currently at #6 on the list. Ciccada are Dimi Spela (vocals), Evangelia Kozoni (vocals), Yorgos Mouhos (6- and 12-string acoustic guitars, electric guitar, vocals), Nicolas Nikolopoulos (flute, clarinet, tenor & baritone saxophones, recorder, piano, electric piano, organ, Mellotron, synthesisers, harpsichord, Clavinet, glockenspiel, backing

(44:48; RobertKropop) Track list: 1. Synesthesia 3:08 2. Geronimo 2:52 3. King of the Monster 3:41 4. Age of Aquarius 2:58 5. Alice in Wonderland Syndrome 4:36 6. Siren Song 4:42 7. Silk Road Suite Part 2 4:16 8. Hands Full of Lights 5:03 9. Water Mirror 2:33 10. Mammoths March 5:03 11. Wave 2:07 12. Motorheart 3:49 Line-up: Not stated Prolusion. Polish artist RobertKropop is an artist I don't know all that much about. He has two albums to his name so far, but apart from that and that he comes from Poland there's not all that much information to find about this artist. "Psychodelicious Mushroom Juice" is his second album, and was released back in 2019. Analysis. If I should place this album into any specific category, instrumental metal would be my primary choice for this album. Most of the songs touch upon metal one way or the other, all the songs are instrumental, so context wise this is an easy production to categorize. The majority of the songs here are fairly str

(77:26; Melodic Revolution Records) Track list: 1. Big Heart 3:41 2. She Knows 3:20 3. Carly 3:12 4. Fear 3:28 5. Land of Blue Echoes 3:21 6. The Wandering Caravan (i) 6:20 7. The Wandering Caravan (ii) 3:53 8. The Wandering Caravan (iii) 7:25 9. Gentle Bird 3:10 10. Deep Night 2:20 11. Stargazer II Sessions 2:47 12. Nucleus II 4:00 13. A Voice in the Dark 3:21 14. The Wind Blows 4:51 15. Flashlight 3:13 16. Fifty Years 2:21 17. Abstract Dreams 2:55 18. Back Home Again 3:01 19. Golden Cage 4:18 20. Exploding in the Air 2:39 21. Lions & Pitchfork Martyrs 3:50 Line-up: Peter Matuchniak - guitars, ebow, synthesizers with: Marco Ragni - vocals, keyboards, guitars Jeff mack - bass Iacopo Ghirardini - drums Durga McBroom - vocals Maurizio Antonini - drums Dave Newhouse - woodwinds Hamlet Tinae - bass, keyboards, guitars Chris Allen - drums Martin Ordford - flute Mike Alvarez - cello Gary Wehrkamp - bass, guitars Mark Zonder - drums Dennis Atlas - vocals Steve Bonino - bass, guitars, keyb

(118:56; Fruits de Mer Records) Track list: 1. Vespero: Between The Eyes (Amon Duul II) 6:15 2. Das Blaue Palais: Krautrock (Faust) 11:52 3. Tony Swettenham: Rucksturz (Agitation Free) 5:52 4. Cary Grace: Surrounded By The Stars (Amon Duul II) 8:48 5. Revbjelde: Dreaming Girls (Embryo) 5:24 6. Das Blaue Palais: Dedicated To Wernher von Braun (Mythos) 6:29 7. Vespero: Castle In The Air (Eloy) 6:13 8. Jay Tausig: Father Cannot Yell (Can) 7:20 9. Das Blaue Palais: Snow Your Thirst And Sun Your Open Mouth (Amon Düül) 9:24 10. Schizo Fun Addict: Galactic Joke Part D (inspired by the Cosmic Jokers) 11:17 11. The Legendary Flower Punk: Sonnenrad (Michael Rother) 6:47 12. Rob Gould: One Morning (Brainticket) 4:12 13. Maat Lander: Neon Lights (Kraftwerk) 9:20 14. Spurious Transients: Autobahnmelodie (Kraftwerk) 4:08 15. Black Tempest: Nights Of Automatic Women (Edgar Froese) 10:15 16. The Arthur Park: Moonshake (Can) 3:55 17. Spurious Transients: Autobahn Verkehrsgeräusche (Kraftwerk) 1:25 Line

(45:25; Musea Records) It is not that unusual for a band to break up and then reform, but I am having problems trying to think of one who did it for quite such a long period. Orion were originally formed back in 1975, released an album, and then disbanded in 1980. Then, more than 30 years later they decided to reform, since when they have released more albums, including this one from 2017. Both Patrick Wyrembski (acoustic guitar) and Janusz Tokarz (vocals, keyboards) played on the debut all those years earlier, while the rest of the band comprise Alain Pierre (vocals, guitar) and Michel Taran (vocals, keyboards) plus assorted guests. There is a well-presented booklet with lots of photographs and all the lyrics for what is apparently a concept album, but with all the lyrics in French I am afraid I cannot comment to much on that. Interestingly, this album has received quite a few 5* reviews, which I find hard to fathom as while it is interesting at some levels, it is also quite boring at

(42:47; Perfect Era) For the last three years I have been working away from home, which means I generally get home only once a month. If any packages arrive for me during that period my wife puts them in the study so I can go through them on my return, add any CDs onto my review list etc. When I was home this time, I redecorated the study which included moving out every piece of furniture so I could pain the walls, and as I did so an unopened envelope fell from between the desk and the wall. Inside was this CD, which was sent to me in March 2019 according to the postmark, but it was the first time I had seen it! To say I was mortified is something of an understatement. Needless to say, I contacted the band immediately, and also put this at the top of my listening list and was soon quite annoyed that it had taken so long for me to hear the album. This is modern symphonic prog with some melodic rock elements, all pulled together with strong musicianship and some stunning vocals. This is