NEO-PROG

There are certain bands that just aren't my thing including this German band listed under Neo Prog here but really variety is their thing and this is all over the place. A concept album that is as vague as they could make it so as not to be controversial. I read a interview with one of the band members who said a "known" singer agreed to be on here but backed out last minute because of the controversial subject matter. A six piece here but we get a male and female who sing only plus nine guests and six of them use their voice. Yes concept albums are all about the story generally to a fault.

The only other album I own by this band is "Fetish" a 3.5 star record and better than this one. The variety is just too much here, I mean extreme vocals growling away one minute then sugar the next. Speaking of sugar someone mentioned MAGIC PIE as a reference to this band and that's another band I have difficulty with. So of course a very talented group of singers and performers showing off their skills in many different styles is impressive but I just can't get into it. But taking the high road with a 3 star snappy rating.

No band can claim to have a more appropriate moniker than Italian band Phoenix Again , established in Brescia in 1981 as Phoenix , eventual dissolution in 1998, only to restore itself in 2010, adding the Again part. Their first 3 albums were utter joys, but the previous (2019) 'Friends of Spirit' was a sharp deviation from their strong RPI roots into a more acoustic, Latino/Spanish laid-back jazz groove that did not fare well in terms of ratings. They should have labelled it something else, such as 'the Lorandi family in Leon', or something similar. As befits a Phoenix, they rise back from the Hispanic ashes to revert to what they do best: masterful melodies, impeccable playing and very Italian prog.

The darting synthesizer swerves masterfully on "Overture", ably shouldered by tremendous guitar riffs, serpentine bass, powerful drumming and subsequent keyboard and electric guitar interplay. Their patented use of dual axe players conjure up images of 6 string intricacy that instantly hits the mark, as the duo provide power and delicacy, firmly intertwined, wrapped into cordial melodies. Time to settle down a bit and show some restrain by creating effective melodies, where extreme serenity and tonal splendour combine to recreate that magical Italian quality of romance within a musical form. All the players shine on their respective devices, as this band is a perfect platform for collective ensemble playing, followed by further revisits concentrated on each individual instrument. The fusion of classic prog with more modern electronic accoutrements is the hallmark of this remarkable epic track. The final segment is buzzingly grandiose and thrilling, something Hackett would applaud, grinning. "Moments in Life" is exquisite music, period.

The slightly more experimental "Triptych" dares to go beyond melody, veering into more obscure polyrhythmic gymnastics, proving that decades of experience can draw magical lines that would suit a roller coaster video. Brash, rugged, fiery, and utterly bold, the track serves its purpose in spades (as well as clubs, diamonds and clovers). Keeping their family feet firmly on the pleasure pedal, the 4 Lorandi brothers, aided by master keysman Andrea Piccinelli and deft drummer Silvano Silva, just keep showcasing their majestic talent on the suave "Air", offering a more dual acoustic guitar first half that imperceptibly morphs into prog heaven with a splendid guitar phraseology, getting progressively heavier as the mighty Mellotron kicks in and the bass guitar rises from its underground lair.

Can this aural delight possibly continue? Well, check out "Psycho" and see how high these lads can elevate their craft, as the Phoenix rises even higher on this monster track. Sizzling synthesizer leads scour the heavens at breakneck speed with strong Emerson/Wakeman tendencies, as Piccinelli rouses his talent on the ivories, setting the stage for the others to enter into the maelstrom. Its fast, furious and ?well, psychotic! The next track acts as a near segue as "La Fenice Alla Corte del Re" propels a sheer density of notes that will stun the technicians out there, while the atmosphere junkies (yours truly) will drool over the emotions the music explicitly encourages. At times, the intense guitar audacity is on a Frippian level, forcefully buzz sawing with total abandon. More polyrhythmic mayhem ensues, while still keeping a critical eye on the melodic horizon. The jet engine "Propulsione" is precisely that: a propulsive guided missile gone haywire, relentlessly in pursuit of some imminent explosion, launched with a militant lift-off which gathers speed and impulse until it reaches a sudden appearance of massive choir work, that will recall some early Crimson King theme that we all know and love. Very slick flare up, with fireworks lighting up the skies.

Two shorter pieces to finish off the album, "Mamma Rai" is a tender lullaby played on electric piano and acoustic guitar, the sound highly evocative of classical music etudes that have stood the test of time. This one will too, as the melody is beautiful. Half way through, it evolves into a more conventional rock format with powerful Celtic-tinged guitar phrasings , only to revert back and forth between the two melodic extremes. Very clever indeed. After all this previous excitement, "Three four" is a delicate lyrical 'arrivederci', as if the band wants to say that they will return with another splendid offering, once the Phoenix arises once Again.

One of the finest album covers in recent memory, brilliantly arousing the music inside.

5 Optical mirages

RPWL (Risettion-Postl-Wallner-Lung) is the progressive rock band formed in 97 excelling in PINK FLOYD covers. They try to find their marks with Ray Wilson for a while and move away from the Floyds with a more raw, aggressive sound while keeping art-rock atmospheres. An 8th album on crimes and other perversions with two of the initiators still at the helm, here we go.

'Victim of Desire' just the intro makes me want to go see them; gradual build-up with a soaring solo from Kalle, the sampled voice of Yogi; it reminds me of the modern transition of PENDRAGON on 'Pure'; emotion, languor, wanderings on the FLOYD whatever we say in more rock; spatial break and jerky riff, good cinematic evolution for the slap with a solo flirting with those of Michel from MYSTERY. 'Red Rose' piano ballad for a funky bass melody and an underlying macabre story best left undisclosed; RPWL floydian atmosphere for the romanticism and melting solo then spleen if that is possible. 'A Cold Spring Day in '22' short, radio-edit, about gruesome Bavarian murder, yes prog isn't all gay; a playful, ironic chorus and a melodic tune. 'Life in a Cage' intro which I like between Peter GABRIEL 'Biko' and TALKING HEADS; cavernous rhythm box, discordant synths pouring into melancholy for a dark atmosphere, a Gilmourian solo even if we know that it is Kalle at the scraper. 'King of the World' masterpiece for the duration, the convolutions, changes of tempo, the appearance of a Moog, the plaintive guitar; intimate break and a flight of spleen notes, in short, the whole panoply of today's progressive rock; the second instrumental break brings up the beauty and brutality of rock, a piece to be listened to again for a long time. 'Another Life Beyond Control' wow, HENDRIX, the scratchy sounding WHITE STRIPES, a saturated fat bluesy riff old as my dresses, a catchy chorus; the break, what to say innovative, psyche; hovering final return with a Yogi solo to perfect the image of nervous prog rock.

RPWL will be criticized, evolving without denying its basics; modern, intricate clutter at its best; a duration short enough to keep you going and induce cravings; power not to fall asleep, problem of some current groups. A superb album much more innovative and catchy, melodic, of the very beautiful prog of a great group. (4.5)

Marcin is back with a brilliant diverse album.

"The Maze" was released in October 2022 as Marcin's fifth studio-based album. The sleeve pic, where a lonely guy standing on a maze complication is drawn, is pretty mysterious and enchanting. The content veiled in the sleeve is also well-balanced and well-matured. There are some moments poppy / catchy (e.g. the titled song) or authentic hard-rock- ish (e.g. "This Bird", "Dead Silence"), but Marcin makes incredible efforts to launch colourful melodic / instrumental variations. It makes sense that almost all of the instruments should be played by Marcin himself and his great ability, activity, and especially creativity works broadly in this opus.

The first strike "Sunrise" consists of mellow, gorgeous, auroral keyboard works. The track filled with calmness and fantasy should stabilize you as a decent opening. The following titled track is slightly too catchy and ordinary for Neo Symphonic but it's not bad fully due to Marcin's aromatic soulful elements. "Light Beam" is one of my favourite tracks. Such an innovative song is full of ethnic, oriental atmosphere and mystic, magical texture. You can mention that Marcin's fantastic fundamental musical essence is stuffed into the stuff. In "Dean Silence", as mentioned above, very good are strict, sincere hardrock-y guitar performances and uptempo variable saxophone appearances. Through "Islands" you can enjoy beautiful melody lines, vivacious percussive vibes, and excellent combinations of passionate guitar shouts and elegant keyboard fantasies. Guess "Getting Out Of The Maze" would express something like eternal loneliness and sorrowfulness around the guy who strayed into the maze. Some tragic air can be felt via this opus ... at least for me. The last "Sunset" is fruity and flavourful, featuring phantasmagoric jazzy saxophone plays and bright cozy percussion sounds. Such a relaxing movement launched via his instruments is charming really.

This is kinda enjoyable creation in any case.

The Emerald Dawn take progressive rock back to the sound of IQ and Marillion on this album, meaning it's quite synth-heavy. It keeps the tempo down for the most part, moving smoothly along, and the drums often impart a jazzy feel. I'm not the biggest fan of the sound palette on this album, and I wish they would have mixed it up a bit more. And like many, many progressive rock albums, the songs (all 8-20 minutes) have a tendency to become unfocused or drag at moments. But if you're a big fan of IQ or other neo-prog acts, give this a go!

Review originally posted here: theeliteextremophile.com/2019/02/18/odds-and-ends-february-18-2019/

Carptree's "Superhero" is a great album. Unique neo-prog, piano-driven, with good vocals and and an addictive sound. There are some similarities to Peter Gabriel, but this is most definitely not a Peter Gabriel clone. Lots of calm, soft passages, occasionally interrupted with moments of brilliant intensity. Carptree has perfected the art of timing and urgency in their songwriting and delivery.

It's exciting to see the potential Carptree showed in their first album be fully realized here on their sophomore release. Favorites include "Calm Sea of their Pupils," and "Flesh." Highly recommended for neo-prog fans who are looking for something just a little bit different. 4.5 stars.

Collage is a Prog band from Poland that made their name in the 1990's, putting out 4 albums between 1990 and 1995, including the classic Moonshine (1994), and establishing themselves as Poland's answer to Marillion, showing a somewhat similar sound and style (as well as the influences of the bands that shaped Marillion, such as Genesis, Yes, Rush, etc.), but then split, with band members going their separate ways. But now they are back again, with a new vocalist and guitarist, and the rest being from the original lineup, and this new album, Over and Out. And wow, they have not lost anything in those intervening years, as this is a top-notch album of Neo Prog riches. Yes, their sound is still heavily reminiscent of Marillion from the Fish era (they even have Marillion's Steve Rothery as a guest soloist on one track), but in the very best way, as the album is full of that lush, majestic sound, provocative themes, emotive vocals, great melodic lines, and exhilarating instrumental passages with soaring guitar and swirling keyboards. Yes, it may be similar in style to what we've heard before, but they have polished and refined the style (and added some new elements) to reach new heights and provide an album that still seems fresh amidst the current Prog scene (and for my money I'll take this over the current version of Marillion all day long). The album consists of 5 songs, with all but one being at least 8 min long, and all are very good to great. Highlights include the 20-min epic title track, quite a masterpiece of sound and style going through a range of creative musical segments, as well as What About the Pain? and Man in the Middle. A very welcome return for Collage, and an album that would have ranked among the best of 2022 (if I had heard it in 2022). Best Tracks: Over and Out, A Moment A Feeling, What About the Pain, Man in the Middle. Weak Tracks: none. Rating: 4 stars

— First review of this album —

Now this is an absolute blast from the past for me. These guys were formed all the way back in 1985, won the UK Yamaha Band Competition in 1987 and were awarded 'Best Band' at the international final at the Budokan, Tokyo. I first became aware of them in 1994 when I reviewed their wonderful debut 'Do You Believe?', which they followed up quite quickly with 'Change' in 1995 (both appear in TPU Vol. 2). They toured with the likes of It Bites, FM and Magnum, and then, nothing. I have no idea what happened to them after that, and for some reason they are not even listed on ProgArchives. Then out of the blue I recently heard from drummer Andy Coffey asking if I would be interested in hearing their new 6-part EP, which has been mixed as a single twenty minute piece. Of course I would, and must admit to being surprised that not only is Andy still there from those days but also keyboard player Graham Woodcock and guitarist Chris Dorman, and while they used to be a quintet they are now a quartet with singer Steve Murray also providing bass.

My first question on hearing this, is where on earth have the guys been and what have they been doing for the last 25+ years? This is fresh and new, melodic with strong links into Neo: they do cross the boundaries between prog and AOR, which was the direction they were moving in when I last heard them. In Murray they have a superb singer, not afraid to hit the high notes and hold them, but what really strikes the listener is the power of the music, the way it is driven hard from the back, and while Dorman can be restrained and add nuances, he also likes power chords. Woodcock works in a similar vein, sitting back at times and taking control at others. The result is an EP which is highly enjoyable the very first time it is played, and only gets better the more times it is listened to.

The sections do make sense as individual pieces of music, so they can be split if wanted, but I prefer to play it as it was intended in that the changes are more dramatic, yet they are linked. We get some nice lengthy instrumental passages which allows the guys to really show their stuff. Hopefully this release will help the guys gain some momentum and get back into the spotlight where they belong, as this is not a band relying on past glories (many of today's progheads will not be aware of the anyway) but instead has produced something dramatic and exciting.

Well, what can I say about their latest album. As a die hard fan it's quite a struggle for me. I want to like this album but I can't get into it. I miss the sparkle, creativity and pure emotion which can be found on their previous album F.E.A.R., a highlight for me. I've been to the concert in Haarlem 2018 (Philharmonie) where they played the whole album live + some of their best oldies, a very memorable evening. 40 years after Script they are still active as a band and that's quite an achievement these days. But this is still a mediocre album and the music ripples on. The last song 'Care' has it's moments but it can't save the album. You can do better than this Marillion, take your time and make something great, worthwile and beautiful. I will wait with patience for the next release ..... *** 3 stars

— First review of this album —

LIKE WENDY is the Dutch musical project of Bert HEINEN, mixing progressive rock with symphony since 1998. In line with a neo-prog at MARILLION, IQ or PALLAS as a reference and GENESIS or PENDRAGON for guitar playing. More a concept than a group since he released his 10th album still solo after a remarkable 'The Fisher' in 2021.

"Flight" neo-symphonic intro reminiscent of the flights of ARAGON; the guitar gives the heavy, monolithic, brightened, dark, oxymorian rhythm; the solo wants to be higher in notes, airy and solemn. "Shine On Memory" for one of three ballads over 10 minutes; I find there the melody to BARCLAY JAMES HARVEST, flights to DICE, in short, art rock with convolutions to stop time and stay in a world far from noise; it's long, hypnotic, vintage. "Ivory Tower" acoustic guitar for a melody with the voice in front; light bucolic sound effects; the final guitar solo stretches and goes on a BJH or even CAMEL trip. "Creation" ARAGON for the electro synth, the guitar a bit of Bert, it's like even him who plays! A break with keyboards giving freshness, liveliness on this monolithic title; a second break à la GENESIS for the flute, the guitar, the atmosphere; it is at this moment that the sound specific to LIKE WENDY finally falls into place. "Apocalyptic Sun" in the same vein with electronic drums, why I was talking about ARAGON, which can disturb the fan hooked on the rock spirit and the musicians who give with their hands; good at the hands level, another solo that melts between melodic, atmospheric, intimate, meditative. "Birth" second long piece which begins as a sequel to the previous title; don't expect a striking COLLAGE intro, like a little LANDS END melody; wait a bit and the guitar solo comes, which actually does Bert's body; the break with fluid monolithic synth bringing the guitar is one of the most successful of the album, the second with synths à KELLY des MARILLION.

"Running Scared" intro typed, latent, dark on keyboards and a spleen guitar; a slow descent to the sounds of retro yesteryear that ooze from all floors, it doesn't hurt; it is at the end of the title that the atmosphere takes on its full body. "Wings of Icarus" continues on the same tempo, cascade of notes falling to infinity; the final spleen of phew, for young people who would read. "End of Daylight" BJH ambiance without the voice on another synthetic tune; be reassured the solo which arrives is well stamped with a rhythm which goes up on the end. "Prince X" flowing melodic ballad, in the same vein, still as beautiful for the prog declination, redundant too. Finally "Live Forever" arpeggios like interlude ballad rhyme, to rest your mind for a while. "Wreck of the Dancer" for the last long title which makes my ears suddenly prick up; we feel the hints of MARILLION, GENESIS between boxes, superb; the mid-term break, a time on the SUPERTRAMP goes back to the Fishian era, tonic, bewitching; the keyboard is well placed and navigates between the two decades, a bit of CLEPSYDRA there, in short neo I warned you.

LIKE WENDY tries to make us dream by revising our memory on the titles that speak of a number of referenced groups to which I add the BARCLAY JAMES HARVEST for the melodic side, the long guitar flights; yes Bert is a very good guitarist. A long album which has beautiful pieces, others less engaging, quite repetitive which are repeated and risk losing interest in the end, danger. An anachronistic album where the intros are common, the tunes common but where the digressions become intense, full of feeling and emotion.