(177:24; Layered Reality Productions) Back in the glory days of vinyl, buying a record was not just about the music it contained but what came with it. There would generally be wonderful artwork, possibly lyrics, maybe even a gatefold sleeve, but some artists took it even further. Being a keen Jethro Tull collector I revelled in the programme which came with ‘A Passion Play’ and the pop-up figures on the sleeve for ‘Stand Up’, but of course the highlight was the mighty ‘Thick As A Brick’. Not only was it musically their finest hour, but it also came inside a broadsheet newspaper which even included a review of the album itself! I spent many hours reading this, as I am sure many other fans did as well, but with the advent of CDs and digital downloads this style of presentation mostly disappeared. I thoroughly enjoyed the release of ‘Mad Martins’ by Gary Miller back in 2018 which brought a highly researched 100-page book to the table, and now we have Tom de Wit, who surely must have brou...

(40:12; Moonjune Records) It has been well over a decade since drummer Xavi Reija last released an album under his Electric Quintet banner, experimenting with different styles and musicians in between, yet now we are back again. Of the musicians who played with him in the last incarnation, 2008’s ‘Ritual’, we still have his longtime sparring partner Dušan Jevtović (electric guitar) as well as Rafael Garcés (sax) and Bernat Hernández (bass guitar) with just one new boy, Tomàs Fosch (Fender Rhodes electric piano, Mini Moog) replacing Álvaro Gandul. Six of the tracks were composed by Xavi, one by Dušan, and one by the two of them together, and the original songs then gave the musicians a springboard to move and improvise together. I have long been a fan of Xavi (and Dušan with his own releases) so it is always great to hear them working together as they have such a strong relationship that it is always a delight. The first time I played this I fell in love with the spontaneity and joy whi...

(179:07; Versa) To celebrate their 20th anniversary, Canadian outfit Versa have combined the two parts of their ‘A Voyage/A Destination’ albums which were released in 2022 and 2024 respectively and combined them into one lengthy release (3 hours) with additional tracks/ performances. The first thing I noticed, even before putting it on the player, is that the cover of the new collection is virtually identical to that of Part Two, which seems very strange to me. This is the first time I have come across this band and albums, so I was intrigued to hear what they were like, especially as the press release says how highly they were regarded within the prog scene. I also noticed a huge number of guests, including Jim Grey and Sam Vallen of Caligula's Horse, Nick D'Virgilio (Big Big Train), Marjana Semkina (iamthemorning), Eric Gillette (Neal Morse Band, Temic), Ross Jennings (Haken), Lars Fredrik Frøislie (Wobbler), Kelly Nordstrom (eMolecule, Sound of Contact) and Michael Trew (Moo...

(43:47; Odd Logic) The FB algorithm must be working overtime when it comes to my profile as yet again, I discovered a band talking about their new album. I determined to find out more which is now I am currently listening to the ninth album from Tacoma-based outfit Odd Logic. Their debut was released more than 20 years ago and was initially a one-man project of Sean Thompson, although there have been a few other musicians over the years, and these days is settled on Sean (guitar, bass, keyboards, vocals) and Pete Hanson (drums, gutterals).   This is prog metal with strong melodic influences and plenty of room within the arrangements, a drummer who understands his role is much more than just being a timekeeper, a multi-instrumentalist who very much creates a band feeling who can also sing, really sing. This never comes across as a project created by just two people, but feels much more like a band, and there is no doubt in my mind that they have been heavily influenced by Encha...

(74:36; Nine Skies) This is a very limited-edition release, just 100 physical copies, bringing together not only music from their four albums but also artwork, as the cover contains elements easily recognisable to fans. This album is a reflection back on what they have achieved to date before they move onto the next chapter and is a nice collection of some of the wonderful music this French progressive band has delivered in the last 10 years. Of course, mention the name Nine Skies and one must also remember Eric Bouillette who was taken from us far too young, and this release is dedicated to him. I like the fact this is not presented in chronological order but with songs chosen in a manner to make this experience totally immersive and enjoyable. They have utilised a great many guest musicians over the years, both on vocals and instrumentation, but their greatest strength has always been in the arrangements and the way they combine melody and musicality with space, different tempos and ...

(58:20; Night Thorn) One would think that after decades of reviewing albums I would be better organised, but no, and I honestly have no idea why I am currently listening to the only album released by Canadian band Night Thorn in 2013. Apparently, they were a musical collaboration between Daniel Enns (guitars, organs, synths, bass, percussion, vocals) and Daniel Puurveen (drums, percussion, electric guitar, vocals) with various others. This album was recorded in a garage in Alberta and is a concept regarding the journey a young man takes to re-discover his childhood and he writes in a journal detailing what he finds. The songs are all different journal entries, and although they are individual songs they are set so they flow directly into another.  In many ways this reminds me of the demo tapes I often used to receive in the 90’s from bands who were far from the finished article but there was some promise which may have delivered something fascinating if they kept at it. There are s...

(50:10; Melodic Revolution Records) In a recent MRR newsletter Nick Katona highlighted this album, originally released in 2010, and given I had previously reviewed their 2017 release, ‘Chaptersend’, I thought I would give it a try. Although their debut had been released just the previous year, there had been a line-up change in the departure of guitarist Stefano Lago, but the remaining members just shared the duties between them and carried on as a trio. Richard George Allen (drums, assorted percussion, vocals), Luca Briccola (guitars, keyboards, flute, orchestration, backing vocals) and Paolo Pigni (bass, acoustic guitars, vocals) here deliver a concept album inspired by a true story suggested by Richard. It follows a businessman trapped in a New York lift over a weekend and takes us through multiple emotions, from claustrophobic panic to the exhilaration of a new beginning. Mogador are a band who I feel never truly gained the recognition they deserved, possibly because they are an It...

(35:16; Dying Victims Productions) I was scrolling though my FB feed recently (it is an awful habit, I know) and came across a band saying they had just been given access to the promo of their new album, and would anyone be interested in reviewing it? As far as I was aware, I knew nothing about them so said I would go for it and was soon listening to a real throwback in time, something which reminded me just why I keeping doing this writing lark after so many years. It came as quite a shock to realise I had actually reviewed these guys previously, when I said nice things about their 2019 release ‘Nattfolien’, but having heard this one I am now determined to keep more on track with what they are doing as this is nothing short of incredible. The line-up is still Håkon Oftung (vocals, guitars, keyboards, flute) and Kristian Frøland (drums) plus some guests in the form of Jon Henriksen from Black Magic, Kristian Valbo from Obliteration/Aura Noir, and Andreas Prestmo and Lars Fredrik Frøisl...

(52:58; Lunear) Here is the latest offering from European progressive rock trio Lunear, who are comprised of JP Benadjer (guitars, bass, vocals), Seb Bournier (drums, vocals) and Paul J. No (lead vocals, keyboards). I have not always been the biggest fan of their output, but there is no doubt that 2024’s ‘From Above’ was a huge step in the right direction, and here we find them making another change which is massively positive. There are a couple of longer numbers here, but in reality, this release is all about highly melodic songs where crossover sometimes moves into neo, while the harmonies are reminiscent of the softer forms of American AOR. It is an album filled with light and sunshine as the trio continue to progress on the musical journey they commenced in 2018, with this being their fifth album to date, and is a million miles away from the album of covers they released in 2022 of which I was certainly not a fan. This is easy listening prog, but that is not to say it is not worth...

(50:45; Discus Music) Let Spin are an experimental post-jazz quartet based in London and Berlin, and this is their fifth album since coming together in  2012. Comprising guitarist Moss Freed (Union Division, Spike Orchestra), saxophonist/flautist Chris Williams (Led Bib, Sarathy Korwar), bassist and sometime singer Ruth Goller (Skylla, Melt Yourself Down) and drummer Finlay Panter (Beats & Pieces Big Band), here is a band who mix composed frameworks with improvisational outings, and a bass sound which is distorted and so heavy that it would make Chris Squire proud as it feels more like a force of nature than a musical instrument. This release finds them building on the momentum of 2022’s ‘Thick As Thieves’ and is a continuous work with each track blending into the next.  All four musicians are credited with individual compositions (plus one by Toby Panter), each then forming a base for discovery, so much so that while some have highly rehearsed passages, such as on “Blocka...

(45:13; Karcius) I first came across this Canadian band some 20 years ago when I reviewed their first two albums, and back then they were still an instrumental outfit but since then there have been some changes both in line-up and approach. Formed in spring 2001, founder members Simon L'Espérance (guitars) and Thomas Brodeur (drums) were joined in 2009 by  Sylvain Auclair (bass, vocals) , who joined the band in 2009, on bass and vocals. Keyboard player Sébastien Cloutier joined in time for 2018’s ‘The Fold’, which was the first of a trilogy which was followed by 2022’s ‘Grey White Silver Yellow & Gold’ and is now completed with ‘Black Soul Sickness’. The last album I came across was 2012’s ‘The First Day’ so cannot compare this with the rest of the trilogy, but I can say they have moved a long way from the instrumental progressive rock and fusion jazz outfit they started life as. Honestly, there are times they are so heavy that they make me think of Disturbed, but for most of t...

(48:16; Frontiers Records [2026 Edition] ) This 2010 album has also now been reissued by Frontiers and was brought together in a quite strange manner in that he asked, through his website, for mp3 samples he could then work with which resulted in a release which is surprisingly consistent with much-improved vocals. It can be argued this was the first album with him back to full strength following his illness, as although he had released ‘The Tree of Life’ with Rick Wakeman the year before it does not contain this power. Interestingly, he revisited one of the songs from that release on this one, “Just One Man”, so he obviously felt there was unfinished business. When Jon is on form there are very few singers in the world who can match him, and he certainly never sounds as if he was in his sixties at this point (now in his eighties he is still recording and touring, incredible). This is not classic Yes-style material, and while there are some elements which are reminiscent of the early E...

(47:58; Frontiers Records) Like many Yes fans, I still cannot comprehend the band touring without this man at the front as although I love ‘Drama’ there has been very few Yes albums in the last 40 years worth hearing when he was not there. Mind you, there is also an argument to be had that he needs strong people to work with to produce great results (Jon & Vangelis, Jon & The Band Geeks), and when left to his own devices his solo albums are often not up to nearly the same standards. In many ways this 1997 reissue is at total odds with his 2019 ‘1000 Hands – Chapter One’ which featured a massive collection of musicians, as for the most part this is just Jon accompanying himself with a few friends here and there (including his wife, Jane). There is some real beauty here in an album which is based on acoustic instruments, folk music and nature, but it is quite inconsistent, and at times it feels almost as if we are trespassing on a private moment when Jon is in a forest clearing, ...

(43:37; Cuneiform Records) Releasing one album was obviously not enough for cellist Janel Leppin, so on the same day her new solo album ‘Slowly Melting’ came out we were also treated to the latest from her longstanding avant-jazz chamber unit, Ensemble Volcanic Ash. Here she is joined by her spouse, Messthetics guitarist Anthony Pirog (who of course also plays with her in Janel and Anthony), bassist Luke Stewart, saxophonist Brian Settles and drummer Larry Ferguson, all of whom played on the 2023 release ‘To March Is To Love’ (long-time contributor Sarah Hughes is absent as she moved house during recording). Although it is an instrumental album it is actually highly political, with half of the tracks written in the leadup to the 2024 election, with the rest completed afterwards. This leads us to songs such the post-punk-tinged “Jazz Is Resistance”, where Anthony is allowed to show off his more aggressive side, which borrows its title from a phrase associated with the D.C.-based arts no...

(38:28; Cuneiform Records) There is no doubt that Leppin is one of the most exciting and intriguing cellists out there, always pushing the boundaries of what is expected from that instrument, and this solo album is a delight from beginning to end, a dark beauty with hidden depths. It is a true solo album as while the cello is always the main melodic lead, sometimes acoustic and sometimes fuzzed, often bowed but sometimes plucked, she also provides her own accompaniment on guitar, bass, piano and Prophet-5 synthesizer. At times this feels far more classical than jazz or RIO, and while the cello itself may be ageless she brings in techniques which make it seem other worldly and an instrument truly adapted to the modern age. There are times when I think if she spoiled this with an electronic drum beat, I can imagine the dance and rave crowd absolutely lapping it up, especially when she moves into territory one often associates more with the likes of Tangerine Dream. This is an album which...

(40:51; Connection Theory) It is unusual to find a band listed on ProgArchives with multiple albums but not a single review or rating, but that is the case with Connection Theory, and even though they were only added to the site a few months ago I would have thought someone would have stepped up by now. So when I saw a request from Duncan Cooper asking for reviews I thought “why not?” which is why I am now listening to his latest release. Duncan is a multi-instrumentalist who on this release provides guitars, bass guitar, keyboards, saxophone, flute, cello and drum programming and he has used the talents of singers Carolina Padron (who is the main lead) and Denisse Ferrara. Unlike many who use programmed drums he has done his best to make them sound like a human, with the result being very effective and one doesn’t really realise they are not the real deal. This is a very melodic release, with a concentration on proper songs, very much crossover prog for the most part although there ar...

(45:54; Karisma Records) I am finding it incredibly difficult to wrap my head around the fact that Agusa were only formed in 2013 as if you had told me this was from the Seventies, or at the very latest from the Swedish retro prog revival in the Nineties, then I would have totally understood. During that time they have released six studio albums and four live, of which this is the latest and contains just three songs. There have been various membership changes over the years, but this particular line-up has been together for the last two albums, and it shows in the way they link together. Mikael Ödesjö (guitar) is the only person still there from the very beginning, but Jenny Puertas (flute, vocals), Mikael Ödesjö (guitar), Roman Andrén (keyboards), Simon Ström (bass) and Nicolas Difonis (drums, percussion, vocals) are joined in a way which only comes from countless hours playing together in rehearsal and on the road.  Take middle track “Den Förtrollade Skogen” for example. When it...

(32:25; OOB Records) Recorded at Poppodium Boerderij, Zoetermeer, Netherlands on 12th October 2024, this captures the British prog metal quintet when they supported Threshold on the ‘Through Time’ European tour. Founder and guitarist of that band, Karl Groom, produced and mixed their debut which led to being invited onto the tour, and he has also mixed this six-track release and will be on deck for the second album as well. For the debut André Saint (vocals), Aaron Gidney (guitars),  Tim Ashton (bass) and Graham Brown (drums) had a few different session musicians providing keyboards, but they are now settled as a quintet with the arrival of Joshua Gidney.   Although they are regarded as many as prog metal, to my ears they have more of the progressive hard melodic rock style which came out in the Nineties, often linked to the Neo Prog movement, especially the likes of Galahad (where Tim was a member, twice) from that period or Walking On Ice, and is a very British sound. T...

(49:05: Profound Lore) As a reviewer I am constantly bombarded with requests to review albums, but unless I already know the band (or they are on a label I admire) I just cannot take all of them, so these days it is unusual for me to grab a band at random. However, that is what happened with this band as I felt their name was just so cool I had to discover more about what was going on. I must have missed them first time around as this is their second album, although their first for Profound Lore, following on from 2022’s ‘Durance of Lightless Horizons’. Gutvoid was formed by guitarist Daniel Bonofiglio and guitarist/vocalist Brendan Dean, followed shortly thereafter by bassist Justin Boehm and drummer D. W. Lee, and according to Encyclopaedia Metallum the name “refers to the void of outer space, but if it were made of guts and other living matter.” But although the name is indeed what made me interested in the first place, I do think it may also possibly be turning people away who woul...

(88:00; L & H Production) This is only the second album I have come across from Russian pianist Yelena Eckemoff, but this is her 23rd since 2010! Born and raised in Russia, Yelena’s mother was a professional pianist and teacher, so she started playing by ear from a very early age. Yelena became a classical concert pianist yet after graduation from the Moscow State Conservatory she kept looking for new styles and played piano in progressive rock and jazz-rock bands. She stopped playing to have a family, and then emigrated to rural North Carolina, and with her children growing up she returned to music. This album was recorded over two days in Benny Anderson’s (yes, ABBA) studio in Sweden and is co-credited to the other two musicians who were involved, Svante Henryson (cello, double bass, electric basses) and Morgan Ågren (Karmakanic, ex-Devin Townend-live, ex-Magma-live) on drums and percussion. Yelena provided all compositions and arrangements, played all piano and keyboards, and ev...

(63:32; Melodic Revolution Records) I have been racking my brain, but I don’t think I have ever come across an album quite like this one. Ian Anderson famously wrote some songs about his old friend, bandmate and artist Jeffrey Hammond (“A Song for Jeffrey”, “Jeffrey Goes to Leicester Square” and  “For Michael Collins, Jeffrey and Me”) prior to him gaining an extra Hammond and joining Jethro Tull, but this album is different as Martin has brought together a compilation to celebrate more than five decades of friendship with Wayne Kozak who sadly passed away earlier this year. An accomplished saxophonist, he recorded with Martin many times over the years, while he is renowned by Canadians for being the tenor sax man for the legendary Powder Blues Band, as well as a sought-after session musician and performer who worked with the likes of Tina Turner, Tom Jones, Bryan Adams, Dionne Warwick, Gladys Knight, Loverboy, and Randy Bachman.    This compilation includes rare/unrelease...

(44:40; OOB Records [2026 Edition] ) This debut album was originally released in 2023, but the Dutch outfit have just signed with OOB Records for their second album, which will be out later this year, so this one has now been reissued. Comprising Raymond Vermij (vocals), Paul Peperkamp (bass, bass pedals, backing vocals), Paul Krempel (guitars, backing vocals), Oscar Alblas (drums, percussion) and Ron Mozer (keyboards) this is a Neo Prog who have been heavily influenced by the likes of Credo, and given I used to arrange gigs for that band I found this a fascinating release. It certainly never sounds as if it was released towards the end of the first quarter of the 21st century as it definitely belongs to the last decade of the 20th, but even though I was a teenager in the Seventies I have a very strong attachment to the music of that decade so it is fascinating to hear a “new” band produce that sound so well. Aside from Credo one could argue there are some influences from Pallas, Comed...

(39:30; Soniq Theater) One always knows it is the New Year as there will be an email from keyboard player Alfred Mueller telling me about his latest album. He has only missed one year since 2000 when he commenced his solo career (he was previously in Rachel’s Birthday. This is his 26th album, and I have reviewed them all, and whenever I listen to them, I always feel he should be far more recognised, not just for his longevity and commitment but also because he has released some very nice material over the years. This album finds him turning more to Wakeman than Jarre, especially on numbers like “King’s Enchanter (magic mix)” which has some nice punch and power and rocky elements, although the programmed drums are always an issue. However, he provides multiple keyboard layers, and it fairly bounds along which is nice. Over the years Alfred has experimented with vocals here and there, and it is rare that it is a positive outcome and sadly that is what we have again here on “Tears” which ...

(64:00; Moonjune Records) Soft Machine has had probably one of the most convoluted membership histories of any band, but there is no doubt in my mind that the current line-up has continued to keep the name alive and are directly linked to the original band. Hugh Hopper and Elton Dean were both in the band in the Sixties, and it was they who formed Soft Ware in 1999, alongside former Soft Machine drummer John Marshall plus Keith Tippett, who had played with Dean at the turn of the Seventies. After a few line-up changes, Hopper, Dean and Marshall invited ex-Soft Machine guitarist John Etheridge into the fold, at which point the name changed to Soft Machine Legacy. Sadly, Dean passed away not long afterwards, and he was replaced by Theo Travis (ex-Gong), while the death of Hugh Hopper led to another ex-Soft joining the band, Roy Babbington. Marshall and Travis are still there today, while Babbington and Marshall have since passed away and been replaced by Fred Thelonious Baker and Asaf Si...