(58:06; Lizard Records) Track list: 1. Con Fuoco 3:56 2. Rivolta 4:04 3. La Citta della Notte 6:54 4. Gea 4:59 5. Syrma 9:33 6. Stasi 5:20 7. Terre di Mezzo 10:09 8. Luna del Viandante Pt.1 (Stanze) 5:05 9. Luna del Viandante Pt.2 (Distanze) 3:42 10. Luna del Viandante Pt. 3 (Assenze) 4:24 Line-up: Chiara Gironi - vocals Donatella Valeri - piano, keyboards, arrangements Bruno Tifi - guitar, vocals Simone Papale - bass Claudio Carpenelli - drums Alessandro Di Cori - guitars, bass, synthesizers, vocals Prolusion. Italian band Magnolia can trace their roots back to the 1990s and a band formation called Eclissidra, but from 2010 and onwards Magnolia have been the chosen moniker. The band have two studio albums out so far. "Can Fuoco" is the most recent of these, and appeared back in 2017 through Italian label Lizard Records. Analysis. I experience this band as one that operate and explore an accessible variety of the progressive rock tradition, with a nice and balanced blend of h

(40:15; Circum-Disc) Track list: 1. The Last Hit 16:39 2. Ultimate Earworm 17:51 3. Lichen 5:45 Line-up: Jeremie Ternoy - Fender Rhodes, bass, piano Ivann Cruz - guitars Peter Irins - drums Prolusion. French band TOC has been a part of the French music since 2008, and have released a steady stream of albums over the years in addition to being an active unit in the live circuit. The album "Will Never Play These Songs Again" dates back to 2018, and was released by the French label Circum-Disc. Analysis. This is one of those albums where those with a passionate interest regarding musical styles and traditions probably could have a long debate about which of the round holes this square peg should be forced into. With topics such as the difference between experimental and progressive might be one of many talking points. But a key detail is that, at least as I perceive the landscapes explored here, that this is an album consisting of improvised material. Opening cut 'The Last H

(58:20; Sasime Records / Almendra Music / Lizard Records) Track list: 1. Okois Plaicja 1:45 2. Rop Lady Guast 3:01 3. Obbligando #1 1:48 4. Lioschi VIII 3:09 5. Stitik 1:40 6. Apefo Pafo 4:35 7. Lajaska Fukkja 1:16 8. K Sojalienju 2:56 9. Opsedale Spichiatrico 2:17 10. Counterpeel 3:00 11. Cerchio Di Permita Gravemente 2:34 12. Pic - Nic #1 1:14 13. Miss Hill Mary 2:40 14. Pic - Nic #2 1:08 15. Pic - Nic #3 1:27 16. Diamanda Galaxy 3:05 17. Bitter(n) Stormy Over Vesuvio 20:45 Line-up: Mezz Gacano - guitars, synthesizers, percussion, drums - SELF-STANDING OVATION BOSKAUZ ENSEMBLE: Lavinia Garlisi - flutes Dario Compagna - clarinet Beppe Viola - saxophone, clarinet Roberta Miano - violin Mauro Greco - cello Ornella Cerniglia - piano Gianmartino della Delizia - hammond, synthesizer, harpsichord, keyboards, xylophone Davide Pendino - cymbals, glockenspiel Luca La Russa - bass Simone Sfameli - drums Francesco Tavormina - drums with: Tommaso Leddi - mandolin, bass Gianni Gebbia - saxophone G

(46:11; Oskar Productions) Track list: 1. The Messenger 7:31 2. Changing Directions 7:27 3. Amathia (Homo Ignoramus) 4:05 4. Walls 8:50 5. What Would You Do 6:58 6. Sandgrains 6:23 7. Haemus 4:57 Line-up: Derk Evert Waalkens - keyboards, vocals Peter Stel - bass Koen Roozen - drums Eddie Mulder - guitars, vocals Jos Harteveld - vocals, guitars Gert van Engelenburg - keyboards, vocals Prolusion. Dutch band Leap Day started out back in 2008, and following an initial EP they released their debut album the following year. Since then the band have released new material at a fairly steady pace. As of 2024 they have 6 studio albums to their name, of which the most recent appeared back in 2021. Dating back to 2016, "Live at the Northern Prog Festival" is the sole live production by Leap Day so far, and this live album was released through Polish label Oskar Productions back in 2016. Analysis. I've always found it a bit difficult to write about live albums. Where the main problem

(78:15; Moonjune Records) Track list: 1. Rintak Rebana 10:39 2. Paris Barantai 11:43 3. Impenan 8:20 4. Janger 5:59 5. Rumah Batu Suite, Part 1. Kaili 12:24 6. Rumah Batu Suite, Part 2. Perjalanan 14:14 7. Samarkand 7:40 8. Salamatkan Orang Utan 7:16 Line-up: Dwiki Dharmawan - piano Nguyen Le - guitars, soundscapes Carles Benavent - bass Yaron Stavi - bass Asaf Sirkis - drums with: Sa'at Syah - flute, vocals Ade Rudiana - percussion Dewi Gita - vocals Teuku Hariansya - percussion Nyoman Windha’s Gamelan Jass Jegog - gamelan, percussion Indra Maulana Keubitbit - percussion Smit - vocals, flute Prolusion. Indonesian artist Dwiki Dharmawan has been a member and a creative force in a number of bands over the years, and he has also catered for his own solo career ever since the early parts of the 1990s. He has around a dozen albums to his name, all and sundry, with the most recent of his studio albums appearing back in 2020. "Rumah Batu" is an album that dates back to 2018, an

(55:44; Progressive Promotion Records) Vlyes are a new German progressive rock band, but their roots stretch back quite a way in that the person originally behind this is Kay Söhl who was a founder of Sylvan and played on their first six albums before deciding to move away from music. In 2019 he made the decision to return, and after a few years approached Jens Lueck (Single Celled Organism, Isgaard) about working on an album together. With Kay providing guitars and bass, and Jen keyboards, drums, piano, and backing vocals all they needed was a lead singer who they found in the form of Volker Oster. Interestingly the band has now become a fully functioning live unit which has seen the departure of Jens and the arrival of Jörg Linke (bass) and Jockel Lüdecke (guitars). This is highly emotional prog, and if I had been asked to really think about who this reminded me of without knowing who was involved I think I would have probably said Sylvan, but given Kay’s input into that band it is p

(80:00; 7D Media) When it comes to writing the book on the most important avant-garde progressive artists of the 21st Century there is no doubt that these three musicians would all have quite a few pages devoted to their output. First off, we have drummer Pat Mastelotto (who also provides electronics), who has spent the last 25 years with King Crimson and Stick Men. Touch guitarist Markus Reuter is seemingly everywhere in the scene, although Stick Men and Anchor & Burden are probably the most well-known, and then there is Warr guitarist Trey Gunn who has graced the stages and recording studios with legendary acts such as King Crimson, David Sylvian, Robert Fripp, Brian Eno, Happy Rhodes, Puscifer, Tool and John Paul Jones. This album is taken from live recordings (no audience) where the musicians just allowed themselves to wander and create music as they went. There are times when Pat does his best Bill Bruford impersonation and dispenses with percussion altogether as he concentrat

(40:15; Cuneiform Records) Cellist Tomeka Reid has made a powerful name for herself in the improvisational jazz scene, recording with many different artists either as band leader or sideman, and now she is back with the latest release for her quartet, which I believe is the third since the debut in 2015, all with the same line-up of bassist Jason Roebke, drummer Tomas Fujiwara and guitarist Mary Halvorson. There are three extended pieces, combining tunes and improvisation, which were written when Tomeka was artist in residence for the Moers Jazz Festival in 2022, and then recorded mixed and mastered over two days in August 2023. Sometimes everybody is in sync, with Tomeka closely harmonising with Mary (both bowed and unbowed) yet there are plenty of instances where the band are following their own direction to get to the conclusion. There are times when the free form jazz finds itself moving into areas which I would better classify as avant-garde progressive rock, which shows just how

(45:40; Hemispheres Records) After I reviewed their most recent album, ‘The Clockwork Man’, I said to Al that I had never actually heard their third album although I had reviewed the others, which is why I am now listening to this release from 2021. After their second album, 2019’s ‘A Tower of Clocks’, everyone in the band departed, leaving singer Al with the name and songs, so the only thing to do was bring in a new line-up which he did with the addition of Dave Close (bass, vocals), Simon D'Vali (guitar, vocals), Dom Bennison (guitar, vocals),  and Alan Wilson (drums). He was unable to get the services of a keyboard player, so Pat Sanders (Drifting Sun) is on seven tracks, Mark Numan (who was in the band for the previous album) on one and Reuben Jones on two. Although there had been a dramatic shift in personnel, this is very much an album which follows the same vein as the previous one (and is also very much in keeping with the one which came later). Strong vocals, great melodie

(58:04; InsideOut Music) This is a very unusual release in that when discussions commenced as to when the band could get together to work on the next album following on from 2022’s ‘Songs From The Hard Shoulder’ it was not going to be easy given that band members could be seen onstage all over the world with Steve Hackett, Soft Machine, Karnataka, David Cross, It Bites, Cyan and others, plus on recordings by those artists and The Anchoret, The Michael Dunn Project, Argos and Retreat From Moscow. In fact, apart from a solitary gig in April 2023 it was unlikely anything could be achieved, so what to do? They came up with an interesting compromise in that the band’s leader/main writer Andy Tillison would keep the material coming and then record the album on his own, hence the slight amendment to the band name – this is not expected to a permanent or long-term arrangement, but rather that Andy would do this one by himself and everyone else will return for the next one. What transpired over

(54:04; Progressive Promotion Records) Rick is back with the eighteenth studio album, and although it took sixteen years from the debut to the next one, he has certainly made up for it since then, with this his eighth album in 10 years. He has again been joined by long-term musical compatriots Sarah Young (flute), Mateusz Swoboda (cello), Barry Haggarty (guitar), Kane Miller (guitar, violin) and Will (drums & percussion) and Giulia Cacciavillian (flute) is continuing the role he started on the last album, while we also now have a second cellist in Artem Litovchenko. Here we find Rick at some of his most dreamy and reflective, moving strongly into the symphonic sphere with music that has been heavily influenced by late Seventies The Moody Blues and it is an absolute delight. I have been fortunate enough to have heard and reviewed every release by Rick since 2009’s ‘Falling Through Rainbows’ so this is the twelfth I have come across, and there is no doubt in my mind that not only is

(47:31; Radiant Moon) Given that mass media were determined to kill prog back in 1976 with the advent of punk, I still smile when approached by brand new outfits, and here we have the debut album by Radiant Moon. All the material is provided by Brian Facklam (keyboards, vocals, clarinet) and Dave Shahin (guitar, bass, keyboards, vocals) and they are joined by Jimmy Grillo (drums) and Nick Lieto (vocals, trumpet). Nick used to be in Frogg Café, who I reviewed all the way back in 2005 while everyone else is a seasoned musician as well, now putting all their energies into the new outfit. In many ways this feels like a Seventies prog album which has been influenced by the likes of Yes in terms of the symphonic style, yet there is no doubt that Rush have also had a very important part to play, and the combination of influences makes for a very listenable album indeed. We get harmony vocals dropped in here and there, which is somewhat unusual these days, while the music itself can be quite c

(46:51; Patchwork Cacophony) This is the third album from Ben Bell’s solo project Patchwork Cacophony but the first since 2016. It was only when looking at his discography that I realised I actually have not heard the others, although I know Ben from Broken Parachute and Gandalf’s Fist (while he has also contributed to multiple others as well). This is very much Ben’s baby in that he provides everything, as although he is primarily a keyboard player he also is adept on guitars, drums etc. This means that while one might expect a keyboard-based album we have one where that is often the foundation, but the overall impact is very much that of a band as opposed to a solo musician. He is thinking in terms of overall arrangements and ensuring that all instruments are given the correct amount of prominence and is he also a good enough singer to carry the lines without looking for outside assistance. I note that PA classify his music as symphonic but based on this album I would put it more as

(20:11; Meat Cafe) This five-track EP is just over 20 minutes in length and is mostly the work of Ronnie Marquiss who may be known to many due Friday Night Progressive, and he is joined by drummer Billy Ray along with three guests on the title track, Troll Hart (vocals), Suzi James (guitar, who seems to be adding her talents to lots of artists at present) and Time Wenzel (piano). To be honest I would much rather there were no vocals, as Troll’s style is not something I appreciate and to me they detract from the song. The same is true for “Alfred Finished Off My Beer” which is meant to be humorous with spoken vocals, but the repeated keyboards, drum shuffle and words just don’t work for me at all. All the reviews I have seen for this EP are hugely positive, yet I just do not feel the same way, as this keyboard/drum set is not something to which I will be returning as I just don’t get it. Obviously I am missing something significant as many others say how much they have enjoyed everythin

(49:25; Lunear) This is either the third or fourth album from Lunear, depending on if you include the covers album ‘Gostraks’. Now, I reviewed that last one, and to be honest I was probably not as kind as many others, yet Paul J.No (keyboards and vocals) still reached out and asked if I would be interested in this one which I admire him for – it is very easy to only ever look for people to give good reviews, yet in reality it is honest reviews where people get the most benefit. The line-up is completed by JP Benadjer (guitars, bass and vocals) and Sébastien Bournier (drums and vocals, the same guys who have been working together since their debut in 2018. There are only four tracks, but opener “In Their Eyes” is more then 25 minutes in length and there are two more longer than nine, so I guess we can forgive them for that. At just under 50 minutes long this is to me a perfect length for an album, too many bands seem to equate quantity with quality, whereas back in the day the most popu

(61:00; Enigmatic Sound Machines) This is the second album by Enigmatic Sound Machines, a band formed by multi-instrumentalist Jeremie Arrobas (Men Without Hats) and musicologist, researcher, producer, arranger, and writer Thomas Szirmay. Thomas and I have known each other for years, but until he sent me this album, I was not aware he was a musician as well. The two men went to the same school together in Montreal, attending many prog concerts in the early Seventies, but it was only recently that they started to record together. In the summer of 2023 Jeremie had the urge to start recording again, even though he had lost 80% of his hearing, so he turned to his old friend to be his guide and following the success of ‘Telepathic Waves’ are now back with the next release. The line-up is Jeremie (keyboards, lead vocals, guitars, bass, and electronic sound machines), Thomas (electronic sound machines, backing vocals, sonic shaping, and humour), Hansford Rowe (bass and fretless bass),  Shane