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discographies forums

PROG ARCHIVES intends to be the most complete and powerful progressive rock
resource. You can find the progressive rock music discographies from 12,346
bands & artists, 73,198 albums (LP, CD and DVD), 2,012,496 ratings and reviews
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LATEST PROGRESSIVE ROCK MUSIC REVIEWS

--------------------------------------------------------------------------------

Last 50 reviews
Studio Album, 1969

3.44 | 84 ratings

BUY
Hard N' Horny
Wigwam Jazz Rock/Fusion

Review by Tero1

This album was put out very early in the Love Records effort to broaden the
horizons of rock in Finland. Producer Otto Donner assigned some musician to
oversee recordings, but was often doing the arrangements. He had already helped
put out a Blues Section album and singles with Pembroke. I got hold of this LP
only after the next two, as it was not really stocked well in Finland at the
time. The singles from the era were easier to find.

The band had Mats Huldén on bass for two singles and this album, with Nikke
Nikamo on guitar. Nikke did not really stand out, and had to be pushed to do a
solo, such as on Luulosairas from this era. If you buy the remastered album on
CD, the song was tacked on as a bonus. It was a good example of the band
spontaneously coming up with a song. The lyrics were labled by singer Jukka as
juvenile, but I do not have a problem with them.

Jukka was responsible for most of Side one, and Pembroke barely appears there.
The lyrics reflect the spiritual journey Jukka was to undertake. He is quite
religious and left the band after a few albums. But not before we had several
masterpieces with Jukka on organ, Pekka on bass (album 2 and later) and Ronnie
on drums. On this album we hear quite tight work by Huldén and Ronnie on bass
and drums. I would even describe it as a Wigwam sound, as much as the organ was
at the time.

On side two we get Pembroke working on the psychedelic saga. I guess they were
trying to be hip and with the times with this concept. Producer Donner padded
the psychedelic effect well with an orchestra. A Finnish dixieland band pops on
the Hard n' Horny All-Niter track.

Some reviewers hear Pembroke using American expressions in his songs of this
period. To me it was the opposite. Though I understood about ninety percent, I
was happy see the lyrics in the remastered CD booklet. I had not even figured
out "tuppence a ton" myself. I enjoy the word play that Jim came up with, though
some images still puzzle most listeners, even in England.

I found a link to the lyrics if you do not have the version of the album with
them, or are just streaming the music. Just google "lyrics genius" and
"Wigwam-fin-cancelled-holiday-plans-lyrics."

It was an experiment, with the side 1 quite a laboratory for Jukka to experiment
with where he was headed in music. Though the suite is ambitious, Pembroke's
effort is more conventional. The lyrics stand out, with Pembroke mastering the
craft by the next album. He wrote music on the piano at the time, but with Jukka
in the band there is very little in the final album from Jim's piano. His first
solo album features more of that.

Henry's Highway Code was the single b-side from this album, featuring a good
effort from the band. You can hear how Jukka's organ was to help out Jim's later
music.

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Posted Tuesday, October 24, 2023, 06:21 EST | Review this album | Report (Review
#2964077)

Studio Album, 2019

3.74 | 79 ratings

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The Universe Also Collapses
Gong Canterbury Scene

Review by Warthur
Prog Reviewer

Kavus Torabi and pals had been assembled by Daevid Allen on I See You to form
the nucleus of a new Gong line-up which could carry the band's legacy into a new
era following Allen's demise - something which duly occurred after the
completion of that album. Allen's ghost haunted the subsequent album - Rejoice!
I'm Dead! - with some vocals and lyrics from him making their way on there, but
on The Universe Also Collapses he has been exorcised more or less entirely.

As on the preceding album, the group make no attempt to mimic Allen's
distinctive sense of humour, perhaps wisely - that was sufficiently personal to
Allen that attempts to copy it would fall flat. That said, attempts to do "Gong
without Daevid Allen" are by no means new - it happened on Shamal, it happened
in numerous spin-off projects using the name, and on Rejoice! I'm Dead! it
happened once more.

Torabi and Sturt still, however, need to do something which is distinctly
Gong-like with the project, even if the humour and the Pothead Pixies mythology
is set aside, but I think they absolutely succeed here. If you had to answer the
question "What is Gong?" without making reference to Allen's persona, humour,
and mythology, you could say "They're the most enduringly psychedelic and spacey
of the original wave of Canterbury bands" and I think most Gong fans would agree
with that. After all, isn't one of their most celebrated albums You, in which
the Allen-inspired humour drifts away in favour of intense instrumental
workouts?

That's pretty much what you get here - jazzy, psychedelic, spacey Canterbury,
using modern instrumentation and textures to produce a 21st Century equivalent
of, say, the longer tracks on You. If you're into that side of Gong, you'll find
a lot to like here, and I suspect that goes for most Gong fans - I know more
people who tolerate the Allen whimsy for the sake of the space-Canterbury
workouts than I do people who sit through the latter wishing the band would get
back to the teapot jokes.

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Posted Tuesday, October 24, 2023, 04:52 EST | Review this album | Report (Review
#2964066)

Studio Album, 1992

4.35 | 1843 ratings

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Hybris
Änglagård Symphonic Prog

Review by Hector Enrique

Although bands like Marillion, IQ and Pendragon flowed like a fresh breeze to
revitalise the progressive movement in the early 80's, by the end of that decade
the genre was showing signs of exhaustion once again. On the other hand, the
legends of the 70's were also struggling to cope with the devastating force of
the grunge wave and alternative trends, forcing them to reinvent themselves and
rethink their proposals in order to maintain their relevance or be left out of
the game.

And it is in the midst of this complex scenario that, from the cold Scandinavian
lands and their bands focused on terrifying the audience with creepy stories
full of demonic riffs and guttural voices coming from the darkest side of metal,
emerges an exceptional work that could well have been developed in the early and
flourishing 70's for the progressive universe: "Hybris", by the Swedish
debutants Anglagard. An album that gives new airs to the genre, gathering and
condensing elements and sound structures of Yes, Genesis and King Crimson, to
mention some of their influences, in four long and solid pieces, performed with
an uncommon maturity considering the youth of its members (three of them were
around 18 years old...).

The tracks unfold with a remarkable fluidity and level of production, from
"Jordrök (Earth Smoke)" and its initial gentle piano, to the voluble and
intricate "Vandringar I Vilsenhet (Wanderings in Confusion)" and "Ifrån Klarhet
Till Klarhet (From Clarity to Clarity)", supported at all times by the unusual
solvency of the very young percussionist Mattias Olsson, the hazy mellotrons of
Thomas Johnson, the arpeggiated and electric guitars of Lindman and Jonas
Engdegård, and the harmonious and recurring flute of Anna Holmgren, contrasting
with the intensity of Johnson's synthesizers (especially the Hammonds), to
define the melancholic style of "Hybris", the highlight of which is the
beautiful and medieval "Kung Bore (King Winter)".

The few sung passages seem almost dispensable, given the instrumental quality of
the compositions, however, having presented the album in some alternative
version from Swedish to English, would probably have generated a ripple effect
of much greater international repercussion.

Excellent.

4/4.5 stars

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Posted Tuesday, October 24, 2023, 00:50 EST | Review this album | Report (Review
#2964024)

Studio Album, 2022

4.08 | 64 ratings

BUY
Saint - Exup é ry álma
Yesterdays Symphonic Prog

Review by Menadel88

It may have reached me a bit late, but it brought a pleasant surprise. After
Solaris, East, You and I, and After Crying, Yesterdays has become my new
favorite Hungarian band.

The world of concept albums has always been close to my heart. It feels great to
follow a story, especially if it's as beloved as Saint-Exupéry's 'The Little
Prince.'

We are dealing with music truly inspired by YES, from somewhere between the
'Fragile' and 'Close To The Edge' albums, yet Yesterdays' music feels very
fresh, full of symphonic prog goodness.

'Rajzolj át' feels just like Chris Squire playing bass. Strong chorus, virtuoso
solos, a captivating rhythm. The middle part seems like a lost section from 'The
Gates of Delirium' all of it with distinctive female vocals. The coda at the end
of the song is a real treat for early YES fans.

Once we've warmed up and tuned into the album, the second song truly takes us by
surprise, 'Úgy várj majd rám' It's undoubtedly one of the album's strongest
points. It has everything we love in this style and it showcases the band's
fantastic songwriting skills. They don't get lost in long, dull sections; it's
concise, with a dreamy middle section (reminiscent of Harmonium), and a brutally
virtuoso solo series. All of this is superbly arranged and produced.

'Estekék' tells the story of Antoine de Saint-Exupery's days after an emergency
landing in the desert. The dark moods are emphasized by a strict unison melody:
bass guitar, electric guitar, and Moog Taurus.

The longest song on the album follows, 'Esőtánc (Rain Dance)', bringing back the
golden age of progressive rock. It has it all: a symphonic intro played on the
mellotron with plenty of Moog, piano runs reminiscent of Locanda Delle Fate,
Renaissance music-inspired musical sections, a Gentle Giant-inspired vocal
fugue, lyrical moments reminiscent of 'Heart of the Sunrise,' a Steve Howe-style
acoustic intermezzo, rich background vocals (rare in today's prog music),
melodic refrains, and recurring themes. From the recent prog releases, this is
my favorite composition. The album's peak.

A Supertramp-inspired song with beautiful harmonies and a guitar-flute duel
reminiscent of The Flower Kings follows, evoking the theme of 'Close To The
Edge' in a symphonic arrangement.

'Panoptikum' is a delicate piano transition into a meaningful song, 'A Méreg' In
this song, we hear the band's former keyboardist, Zsolt Enyedi, for the last
time. He passed away at a young age in 2020 due to a tragic stroke. The band
dedicated this album to his memory.

The song 'Engedj el' summarizes 'The Little Prince' story, focusing on letting
go. Strong influences from YES and Genesis are evident here. This will
undoubtedly be a wonderful concert song. If the band can perform at the level
I've seen on YouTube, I'm even more excited to experience this music live.

All in all, I can welcome a new favorite into my collection. I wholeheartedly
recommend this album to everyone, especially those who, like me, haven't come
across Yesterdays' fourth album before. A masterpiece!

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Posted Tuesday, October 24, 2023, 00:48 EST | Review this album | Report (Review
#2964023)

Singles/EPs/Fan Club/Promo, 2023

3.00 | 1 ratings

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Sombras
Alpha Lighting System Crossover Prog

Review by memowakeman
Special Collaborator Honorary Collaborator

— First review of this album —

Another great track!

The always prolific Mexican band Alpha Lighting System has given us a new
single, and it is great to hear they kept Spanish as the main language, and I
would say I am getting used to it and like it.

'Sombras' is a track that has a loud and clear message against our political
system, and though we could say they particularly refer to the Mexican one, I
think the lyrics could suite almost any country that has [&*!#]ty politicians
who always look after their interests and forget about the people's. Nowadays we
are witnessing wars, so many blood covering the streets, so many innocent being
blasted. So it is really sad these things still happen.

And yes, music is a vehicle to talk about these problems, because we are all
involved directly or indirectly, so it is nice to take action through art and
spread the word, always spread the word.

Of course, the music here is great as usual, they first open with energy and
with the full band, I mean, the four musicians take part since the very first
second creating a kind of Porcupine Tree sound, second later when vocals enter
the rhythm slows down, we can hear great raw bass lines; then they change
rhythm, soft guitar notes appear as bridge and the music seems to explode, but
they keep the calm.

The chorus appear and what is quite interesting, catchy to sing but also full of
energy because it is after all, a song about disagreement, protest, anger, so
yeah, the song actually explodes, it has to! And I really love that instrumental
passage where a keyboard solo drive us crazy, while the exquisite drumming pumps
the track with energy, and the strings create a wild base that reminds me of
Riverside and once again, PT.

I like they decided to put some bell tolls in the end, it is symbolic.

And yes, it will always be a pleasure to write about these guys, because they
don't cease to create amazing music.

Enjoy it!

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Posted Monday, October 23, 2023, 22:03 EST | Review this album | Report (Review
#2963986)

Studio Album, 1986

3.96 | 319 ratings

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Awaken The Guardian
Fates Warning Progressive Metal

Review by Lesanderd

With Awaken the Guardian, the magicians from Fates Warning closed their
so-called classic trilogy with excessive perfection, those three initial albums
were influenced by the most conventional Heavy Metal, with an important British
imprint, and in all cases with the extraterrestrial John Arch to the
microphones. With Awaken the Guardian they recorded their most complete and
complex album to date, maintaining, of course, the same roots and the same
concepts shown in their two previous works, but on this occasion going one step
further in terms of themes, artistic developments. and conceptual designs.
Awaken the Guardian is a tremendously mystical and esoteric work, an absolutely
magical album in its entire design, surrounded by an aura of contemplation and
spirituality worthy of mention. It is a delight to be able to enjoy absolutely
immortal songs from this album such as "Guardian", "Exodus" or "Prelude To
Ruin", without forgetting equally important, darker and more mystical pieces,
like "Fata Morgana" or "The Sorceress" In short, another classic from his
discography, another album of incalculable value, a work that undoubtedly helped
to consolidate the progressive metal scene with absolutely clear and marked
postulates. Without a doubt one of the most resounding and definitive albums in
the history of Heavy Metal.

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Posted Monday, October 23, 2023, 14:19 EST | Review this album | Report (Review
#2963950)

Studio Album, 2023

1.98 | 89 ratings

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The Dark Side of the Moon Redux
Roger Waters Crossover Prog

Review by TheEliteExtremophile

I generally do my best to be positive on this site. I cover music I like
(mostly), and I aim to give acts the benefit of the doubt when possible. I've
heard it said that critics should be curators, not gatekeepers, and that is an
ethos I strive for. But every now and then, you run across a flaming pile of
[&*!#] so spectacularly bad, you have to stop and gawk. It's a trainwreck with
bodies strewn everywhere, and the mere sight of it makes you sick, but you can't
look away. And to top it all off, the person driving the train is a notoriously
unpleasant curmudgeon. When a situation like this arises, it's hard not to react
to the spectacle.

Having a nice, long hate on an album can be a fun, cathartic exercise on
occasion. I haven't really done that on this site before now, but it's something
I did a number of times when I was writing reviews on my personal Facebook page.
The Astonishing, Dream Theater's overblown, under-thought rock opera, was a
particularly fun record to bash. I'm looking forward to expanding on that in my
eventual Dream Theater Deep Dive. (I did bash Leprous's last two albums pretty
hard, but even my Aphelion review found some limited good.)

I touched on this briefly in my Pink Floyd Deep Dive, but Roger Waters is pretty
easy and fun to dislike. He often comes off as a self-important douche who is
deeply unpleasant to spend time around. Normal, likable people don't get married
five times or have irreparable rifts with coworkers. Sure, his politics are not
too terribly different from my own on most fronts, but his sanctimony goes a
long way in making me second-guess those overlapping views.

He only seems to have gotten more unpleasant in his old age, too. His spats with
David Gilmour, which seemed to have quieted down a bit in the mid-2000s, have
only flared back up as nasty as ever in recent years. And the dude is even on
Russia's side in the ongoing Russian invasion of Ukraine. Add into that mix some
additional ridiculous, egotistical statements?like his bitter, petulant outburst
that he is "far, far, far more important" than The Weeknd when the Canadian
press didn't give his tour enough attention?and it's easy to see why it's hard
to look away from his nonsense.

Now, to Roger's credit, he's not intending for this to be a replacement for The
Dark Side of the Moon. This work is presented as a different take on things. The
album is a reflection on life and death, and re-recording it with another fifty
years of life experience sounds like a concept that could work? theoretically.
The problem is, Roger's best work was always strongly reliant on David Gilmour
and Rick Wright providing significant musical input. This manifestation of Dark
Side simply lacks that ineffable spark that made the original one of the
greatest rock albums of all time. In many ways, this release feels like him
attempting to diminish the importance of the other members of Pink Floyd and
cast himself as the act's true creative force.

I get what Roger was going for here. He's an old man now, and I'm sure his
lyrics feel all the more true to him. And yes, there is something to be said
about the gravity of many of these passages. "Speak to Me" has been replaced
with a somber recitation of some of the grimmer lyrics from "Free Four", off
Obscured by Clouds, and it's actually a rather promising opening (especially
based off the [&*!#]show that is the first single, "Money", but that comes
later).

"Breathe", instrumentally, is a decently interesting reinterpretation, with a
stripped-back feel. Strings and acoustic guitar help add a sense of weight.
However, Roger Waters was never the strongest singer, and age hasn't been
particularly kind to his voice. He's doing better than Ian Anderson, but that's
a low bar.

"On the Run" has its focus shifted from tense, claustrophobic synth loops to
Roger's poetry. I don't particularly like poetry, and this stuff is no
exception. Between this and "Speak to Me", it feels like Roger Waters is doing
his best to take the instrumentals on this album and refocus them to be about
him personally. He wrote the lyrics for the other six songs, after all, so why
shouldn't these bear his mark too?

"Time" eschews its iconic opening cacophony of clocks, instead having Roger
recite more tedious poetry. I know he wants this to be his own spin on Dark
Side, but all the changes he's made so far simply strip away all of the original
release's charm and character. He's turned it into a sleepy, spacy mush.

The verse is minimalistic and supported mostly by acoustic guitar. Roger's voice
is also a poor substitute for the beauty of David Gilmour and Rick Wright's
harmonizations. The overall mushiness of this album is only made worse by the
decision to excise all guitar solos. Like, I get that Roger Waters and David
Gilmour [%*!#]ing hate each other, so I can understand Roger's spiteful instinct
to minimize any guitar flashiness. But at the same time, the call to have the
music just lazily drift along does not help anything or anyone.

"The Great Gig in the Sky" replaces Clare Torry's iconic vocal riffing with a
story about one of Roger's friends passing away. Thematically, I can understand
the decision, but it just doesn't make for good or interesting music. And at the
end of the day, shouldn't that really be the point of recording an album? You
can put a particular angle or spin on your music without making it drowsy,
uninteresting monotony.

It's almost impressive how badly Roger Waters ruined his best-known composition,
"Money". His voice is especially poor here, and he's sucked all the fun out of
the iconically infectious ⅞ groove. I'm pretty sure he's trying to come off as
(even more) cynical and jaded, but he just sounds bored. The strings don't add
anything interesting, and his decision to replace another guitar solo with more
poetry is simply not good. This song is an absolute slog. It feels like a
punishment. Why am I doing this to myself?

The original "Us and Them" had a pretty sedate pace, so this interpretation is
less galling. It sticks with the stripped-back acoustic motif, like the rest of
Redux, but that just makes it feel like bland elevator music. Roger's voice also
feels quite thin and unimpactful. On the plus side, the instrumental section of
this song is actually instrumental, rather than another poetry reading. This
song is the closest to its original, so it's probably the best on the album.
Being the best track on this album isn't much of an honor.

"Any Colour You Like" is almost unrecognizable, in contrast. The swirling,
kaleidoscopic instrumental is now an acoustic, vaguely-bluesy backing over which
Roger Waters is allowed to hoarsely mumble.

The overall sleepiness of this album continues on "Brain Damage". This
interpretation is more lazy than offensive. It's not like "Brain Damage" was the
most energetic song to start with, so slowing it down even more practically
grinds it to a halt.

And the album reaches a fittingly disappointing non-climax with "Eclipse". The
original is one of the most explosive, satisfying conclusions to an album in all
of popular music history. The version presented here, though, leaves the
listener with musical blueballs, as it offers no proper resolution to anything
preceding it. This song vaguely hints at the original's dramatic, cascading
organ part, but it's nothing more than a weak gesture. This cut just sluggishly
somnambulates out of the preceding one and sort of lingers around for two
minutes. Roger Waters sounds like he's gargling gravel, with absolutely no sense
of purpose.

I know I referenced the original The Dark Side of the Moon a lot, but that was
absolutely unavoidable. This album is an artist going back and remaking his
best-known piece of work with a different perspective, so my feelings and
opinions on the original are going to be inextricable from my views on this
redux.

This is a dull, dull album. It doesn't accomplish anything of note, and this
will serve more as an embarrassing footnote at the end of Roger Waters's career
than as anything of substance. The production is good, sure, but this music
doesn't deserve it. Redux is a mess, but it's not the particular type of musical
abortion I was imagining. Don't bother with this, unless you're looking for a
sleep aid narrated by someone doing a Tom Waits impression.

It's still better than The Final Cut, though. Fuck that album.

Review originally posted here:
theeliteextremophile.com/2023/10/23/album-review-roger-waters-the-dark-side-of-the-moon-redux/

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Posted Monday, October 23, 2023, 09:04 EST | Review this album | Report (Review
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Studio Album, 2017

2.91 | 25 ratings

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Box of Circles
England Symphonic Prog

Review by flowerbed

Well I have to disagree with the other reviewer. I think this is a highly
sophisticated album with a distinctive voice reaching WELL beyond what 'Garden
Shed' achieved. It was also clearly a MASSIVE effort to put together (Webb
estimates it as taking 7300 hours in total!) and demands to be listened to in
complete before making a rash judgement.

The concept of Fortune And Fame and the music being rich, layered and
through-composed makes this is a highly 'progressive' album in the literal
sense. You have to sit down and listen closely as well as actively. Webb is
clearly a huge music lover who marvels at the work of the great composers as
well as classic rock. Homages to Carl Orff, Beethoven, a homage to Gershwin, a
homage to McCartney, Simon & Garfunkel and so on and so on. Yes and Genesis are
OFF the radar here. The 'homage' to Mitchell and Mingus's 'God Must Be A Boogie
Man' without 'covering' the song itself is quite a feat and pulled off
handsomely. For the rock 'trainspotters' out here, he also drops in little
references to things we already know and love...there's some Floyd, King Crimson
and, well, have fun, you'll find the rest!

Look, you get the message. This album is for music-lovers with a broad taste.
This is the whole point: 'England' have cult status with progressive rock fans
but this LP might be lost on those who merely want more 'Garden Shed'! Therein
lies the poisoned chalice of popularity even on a modest level. Forget 'Garden
Shed', great though it is, this is a step away from that. Equally clever and
equally polished but going somewhere less easy to pigeonhole. What a shame it's
lost on some. This album is imaginative, witty and if you listen and discern
properly there are deep messages to absorb.

I should also mention the booklet of lyrics is beautifully done. Make sure you
get the LP! Side One, track two, "Destiny" is the standout track for me. Very
clever indeed. Though Timelessness is also achingly beautiful both in execution
and production. Again, best appreciated while sat still listening and following
the lyrics in the booklet, as is ALL of Side Two in fact.

Great album.

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Posted Monday, October 23, 2023, 07:27 EST | Review this album | Report (Review
#2963863)

Studio Album, 1995

3.51 | 21 ratings

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En Quete D'un Monde Meilleur
Honeyelk Zeuhl

Review by bartymj

The two main tracks, as appearing on the original album in 1979 show clear
influences from Peter Gabriel, Van Der Graaf Generator, and the lighter side of
Zeuhl such as Zao and Weidorje. The first is smooth and flowing, the second is
more suspenseful, full of saxophone, and rising and falling tempo, slightly more
Zeuhl than the smoother jazz of the opening tracks.

This reissued album comes with four bonus tracks.

Osmose is a very calm spacey track, built around vocal stylings, piano and
clarinet. Rencontre d'un Soir is equally calm, also contains some violin
passages and more synths, plus the Peter Gabriel-esque vocals. The final track
is a minute of much the same style, broken up by another short track of drum
jamming. Neither of these add much to the album but the first two bonus tracks
are good to go along with the remastered main tracks.

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Posted Monday, October 23, 2023, 05:22 EST | Review this album | Report (Review
#2963850)

Live, 2023

4.65 | 9 ratings

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ManifestAzioni Live 2011-2023
Claudio Milano Progressive Electronic

Review by LearsFool
Prog Reviewer

Claudio Milano, the vocal and lyrical mastermind behind such vanguardist
projects as NichelOdeon and InSonar, as well as collaborations thereof, has
returned with a look at his past. This sprawling double-LP collects a cornucopia
of different performances by a variety of different artists - Milano's End
Friends in the album's title - that he sang with over a clearly fruitful 12 year
period. The cuts chosen for this LP are never before released and represent
music that won't be returned to in the studio if anywhere. It's honestly a
record that floored me in multiple ways, chiefly the range Milano continues to
show both vocally and in the number of fellow travelers he took the stage with.
NichelOdeon and Not Me (who came to dominate his excellent studio LP Incidenti)
are represented here, but he focuses more on his alternative friends I
Sincopatici and Strepitz among others in this bumper crop, delivering new angles
to his talent and illuminating more of the oft neglected greats of modern
Italian prog.

Milano's singing and lyricism naturally define this collection, rolling through
a variety of languages and dialects both contemporary and medieval. For instance
he pulls out old Friulian and Sicilian tongues alongside Latin, Hellenic, and
some uniquely antiquated French on top of both medieval and modern standard
Italian. The lyrics furthermore speak to the wide variety of literary and
musical influences he and his collaborators have drawn from. I remain astounded
by the heights he achieved on Incidenti but these tracks prove that his recent
triumphs are rooted in a long term growth in his vocal power and stylings. One
of the zeniths collected here is his singing with the AreA successor named Area
Open Project that opens this record, where he proves himself a worthy successor
and beyond for Demetrio Stratos. Due praise must also be given to the Bandcamp
only bonus cut "Tributo a Claudio Rocchi" in honor of Stormy Six's late great
bassist/singer-songwriter which crashes different vocals and spoken words
together to help eulogize him. The otherwise closing cut "SenseNonSex" provides
an astounding vocal tapestry not only to Milano but Eugenioprimo Saragoni and
most of all the immaculate Giulia Zaniboni in my personal favorite sequence on
this record.

The instrumentation here is also excellent to say the least. There's clearly
some through-lines as two bands are primarily represented and both the
avant-prog scene in Italy and Milano's musical preferences are clearly apparent
across the entire album. Bear in mind, however, that the ultimate cohesion in
this release is a fractal that carves a myriad of stylings across the sonic
landscape collected here. AOP's opener is a rhythmic opus that hardly limits
itself in its jagged guitar flashes to Milano's practically echoing, mountainous
rhapsodizing. NichelOdeon's representatives here are defined by acoustic guitars
that beautifully set their scenes. I Sincopatici's cuts are piano driven in
tasty and mind expanding ways. The final result, after all the entrancing notes
and solos, is a sort of musical panopticon that takes a variety of instruments
and stylings and reifies them into a sort of whole within and around the mighty
Milano, who sees and sings all in his many wondrous idioms.

This double-LP is one of the hardest releases for me to describe fully - I
heartily recommend the wise analysis of my fellow reviewers here to round out
any understanding what Claudio Milano has given us here. But this is nothing
short of wondrous and groundbreaking, masterful cutting edge music collected
from a once potentially lost past and reshaped into a vessel of raw artistic
power that speaks to the past, present, and future of some of prog's greatest
and most vanguardist artists, and therefore of prog rock and beyond in general.

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