Gentle Giant started strong and aimed at on their debut album. They are certainly among TOP 10 UK progressive bands of the 70's yet underrated by anyone but prog-lovers, probably because the high complexity and lower accessibility. A large line-up from the first album with multi-instrumental capabilities opened wide door to the progressive rock realm. At a relatively young age, the band displays familiarity with hard-rock, classical music, folk music and 60's psychedelia. The first track is absolutely amazing, very complex but perhaps the only catchy one. GG as no fear of going through irregular rhythm, adding exotic instruments, change styles abruptly and create sonically rich portraits (especially when keyboards are involved). "Nothing at all" at its 9 minutes could be mistakenly considered to be a complex opus but it is a rather pleasant psychedelia number that is interrupted by drum soloing and avantgarde dissonant experiments. Astonishingly strong debut!

Another awesome one-off from a short-lived Czech band.

1. "Horni konec dolni konec" (4:07) two motifs, one funkier than the other and containing some nice dueling between trumpet, flanged electric guitar, double bass, and keyboard synth. (8.875/10)

2. "Cervanky" (4:47) slow and reflective with delicate yet-nuanced performances from all of the musicians. The music keeps getting stronger, more dynamic (and, melodically, more 1960s game show-like) over the course of its almost-five minutes. (8.75/10)

3. "Osmikraska" (5:49) opening with some bowed electric bass (or cello) that has a very interesting effect plugged into it, the song then launches with the whole band moving into a great bass-and-drum-led groove with horn section. Great syncopation from the drums and bass while guitarist Zdenek Fiser solos and Fender Rhodes player Pavel Kostiuk supports. Trumpeter Michal Gera takes the next turn in the lead while bassist Frantisek Uhlír does some interesting moving around beneath. Bowed electric violin (or cello) gets the next turn before the band comes back together to recite the collective melody line with the horns fully involved. Cool song! (9/10)

4. "V klidu a pohode" (4:23) ominous melody line to open this slow, ruminative song of suspicion and paranoia. A little too herky-jerky for my tastes. (8.75/10)

5. "Sextant" (4:43) even though the title here seems to give a nod to Herbie Hancock, I hear a predominance of Mahavishnu Orchestra with Jan Hammer-type Moog soloing. (9/10)

6. "Cumulus" (5:03) a nod to Billy Cobham's "Stratus"? a very quirky and interesting song making footprints in several j- r fusion camps: funk, technical, Smooth, experimental, and (9/10)

7. "Riko" (4:45) smooth jazz with some admirably-tight whole-band playing--especially from the multiple instruments proposing the melody together. My favorite song on the album. (9.25/10)

8. "Povidlove hody" (5:26) from the start this sounds like an experimental practice étude--like one of the band's warm up songs. (8.5/10)

Total Time 38:58

Very solid and nicely rendered performances of solid Jazz-Rock Fusion compositions.

B+/four stars; an album of Jazz-Rock Fusion that is, I feel, actually better than its score indicates. I recommend you try it for yourself--especially if you're into Jazz-Rock Fusion.

In keeping with their tradition of not pigeonholing themselves into a particular theme, neither with tabs on the oceans, nor with the fantastical memories that the future can generate nor the dazzling lights of the circus, Nektar, the most German Englishmen of the progressive scene, take a new turn of the screw and get very serious with one of the first known works regarding environmental concerns at a time when it was not yet on the global agenda: 'Recycled', the band's sixth album, released in 1975.

With no moralistic or vindicatory pretensions, Nektar exposes their visionary concerns about the future of the planet with a proposal that is closer to electronic and symphonic sonorities to the detriment of their increasingly less raspy creations, accompanied by the substantial collaboration of Larry Fast, recognised master of synthesizers, who nourished 'Recycled' with that futuristic instrumental touch that complements the album's narrative.

Separated into two major segments for a total of eleven pieces, the first half, 'Recycled - Part 1', unfolds consistently, without pause and at an agile pace, highlighting the epic melody of the opening 'Recycled' and its follow-up 'Recycled Countdown' with Allan Freeman's keyboards and Roye Albrighton's funky riffs, the industrialised arrangements of 'Cybernetic Consumption' with Fast's supreme moog, Derek Moore's robotic narration on the apocalyptic 'Automaton Horrorscope', and the fast-paced 'Unendless Imagination?' with a huge choral arrangement in Gregorian mode and the cosmic keyboard dissolving to conclude the excellent first segment of the album.

'Recycled - Part 2', which begins by picking up the keyboards where the first half ends, slows down and includes more heterogeneous rhythms, fusing Latin American elements and jazz touches on the laid-back 'São Paulo Sunrise' and 'Costa Del Sol' with great work from Derek Moore on bass, and reinforces its futuristic vision with the final minute synth curtain of 'Marvellous Moses', before Albrighton's beautifully arpeggiated guitars lead into the album's melancholic, orchestrated finale with the sombre 'It's All Over'.

The remastered edition of 2024, almost 50 years after the release of 'Recycled', the last album of Nektar's most classic period, includes a new mix by Geoff Emerick, and two very good sounding concerts from the 1976 tour in Toronto and Long Island. A valuable addition to the band's discography.

Very good

3.5/4 stars

1. From the Undertow intro to the burning rope, latent, aerial, crystalline piano, a good GENESIS encore in fact; we get into the subject and it's better than the sound of the group 2. Lucky Me with Kim on vocals, you have to get used to it, hard for me; Well-calibrated marshmallow romance with an intoxicating Banks vibe 3. The Lie as an ersatz of a Genesisian title, I'll let you guess which one but yes I'm starting to think of scraps of titles that he kept in his computer 4. After the Lie on a more airy, fresher, fruity piece, the title that we are releasing in the spring; in fact it could be a GENESIS with Chester hitting the barrels; All that would be missing is a guitar solo from Mike who was almost as discreet as Steve when there were still 5 of them, a dynamite consensus title which is really not bad at all, for anyone who doesn't yet know GENESIS!! 5. A Curious Feeling continues the dynamic and then there were three, like falls from this album, but good falls! with paradoxically more long pieces, strange or done on purpose, in any case a real joy 6. Forever Morning and an instrumental in addition to the intro; majestic, Vangelisian, admirable, of the primary symphonic which sends you with two very high chords,

7. You continues on the same musical line with an innocuous verse-chorus followed by a flight of synths, yes more modern, a little brightened up of the genre and the cruise has fun; the solemn tone reinforces the experienced side of the group which knows what it is playing, in short admirable; the finale with the notes that flow, that roll like on a... GENESIS, we even have the impression of hearing the archangel's flute to tell you 8. Somebody Else's Dream for the Chris and Tony association, the vocal flirting between a TOTO and an AOR group, yes you have to look a little; otherwise I'm waiting for the instrumental part, suddenly crystal clear piano and the flight... too fast, disappointment in fact; yes Tony alone makes me vibrate more 9. The Waters of Lethe and the 3rd instrumental which once again stands out; the grandiloquent symphonic side with the Vangelisian touch which does not leave one indifferent, and this progressive escapade which goes well beyond prog, an Olympian neo-classical feeling 10. For a While nursery rhyme for the piano, the ballad is all, the source dries up? 11. In the Dark for the Genesisian finale, yes I assume, an almost more beautiful ersatz space which closes with this grandiloquent organ rise which makes you grow hair on your skull, a bucolic and enjoyable pleasure in fact.

It was either JR/F or Eclectic Prog where the Finnish composer and multi-instrumentalist Antti Louhivaara was to be placed. He himself would have preferred the latter, but I agree with the decision made by the teams. Even though this instrumental music, in its rhythmic complexity and regular rock instrumentation, is thoroughly progressive rock, more clearly than it is fusion (and the plain jazz nuances being absent), it's easy to hear the stylistic connections to the jazz/fusion wing of the prog universe. My initial associations included FRANK ZAPPA, PEKKA POHJOLA and at times ROZ VITALIS.

After releasing two digital albums containing pieces that were composed in a long time-line, Louhivaara made his CD debut with this one compiling compositions from both Sinputus (2020) and Karmiekonytisti (2023). All instruments --guitars, bass, keyboards, software, drums -- are played by Louhivaara who's also responsible of producing, recording and mixing. The result is very, very good from the technical point of view. He's among the most convincing one-man bands I know.

Many track titles have witty wordplays that I'm not trying to explain to non-Finnish speakers. With 14 tracks all more or less oriented to nearly ADHD-ishly playful writing style highlighting the complexity and technical ambition, listening to the entire CD through gets rather exhausting. I'm not exactly sure if the best pieces come in the beginning or is it just that my ears and mind are getting tired. 'Sinputus' (the longest one at 8:39) is pretty impressive, and also 'Lirpsutus' has nice dynamics. 'Kaiutus' is a little mellower in comparison, at least partly, and would't be a disgrace at all on Pekka Pohjola's albums of the 80's or 90's.

While I like the fast, Zappa-esque xylophone/vibes parts on 'Leidit Aivan Kiinassa', it's durig this very track (No. 4) that I already begin to feel tired and start to think that this music is a bit too much for the brain and far too little for the heart, if you know what I mean. The waltz-like elements on 'Valssaan ja Poraan' are fairly amusing. 'Kujerrus' contains also a sax-sound in its diverse arrangement. Nevertheless, the further I listen to the CD, the more I start questioning whether I honestly, wholeheartedly enjoy this music. New sonic details keep coming -- for example Eastern influences on percussion in the final piece 'Allihuuppa' -- but the overall approach stays very much the same, ie. very restless, without moments for a rest and in benefit for the emotional dynamics of the whole. There are no truly memorable melodies either. This is why I'm rating this CD in the middle ground.

Although this is a band, and not a project, these guys have had some issue with continuity of line-up over the years, and this has continued through to their fourth album. After 2019's excellent 'A Tower of Clocks' there was a mass departure, leaving singer Al Winter to bring together a brand-new group plus guests for 2021's 'Kites', which for some strange reason I never heard. Now we are back with their most recent release, and this time apart from Al the only musicians retained are the rhythm section of Dave Close (bass) and Alan Wilson (drums) with new members in the shape of John Cook (guitars) and Leigh Perkins (keyboards, whistles, backing vocals) plus two guests contributing on one track each.

Given the turmoil in the ranks one might expect the quality to suffer, but that is not the case as yet again we have a really enjoyable neo prog release which has a lot going for it the first time it is played, with hidden depths becoming apparent after repeated plays. It is a concept release, based on dystopia and steampunk, and Al obviously has a very clear idea on what he wants to achieve, even stepping aside on "Change" for Andre Saint to guest on lead vocals on the heavier track as it is obviously what he felt that song needed. This is very much neo prog, but it has been polished and crafted for the modern age so there are elements of symphonic and even crossover in what is being presented, which means that people who are fans of commercial melodic rock will also get a lot out of this.

The last time I reviewed This Winter Machine I said they contained obvious elements of early Pallas and Marillion, combined with some Pendragon, Galahad and Grey Lady Down, and I still believe that is the case even with a total change in personnel apart from Al, yet here it is polished to a high degree. Hopefully they will find more continuity in the future, as I note they are again looking for a guitarist, as if they can deliver music as strong as this with the line-up in turmoil what is going to happen when they are stable? Yet another solidly enjoyable release.

The Latin title of this album can be translated to 'Because They Don't Know What They Are Doing' and it would be interesting to ask Ivan Rozmainsky (keyboards) who he is aiming that at, although one can surmise. It has been five years between studio albums, during which time the world has changed for musicians in Russia and Ukraine, but finally here we are back with their latest release. There has been a slight change in personnel since the last one, but Ruslan Kirillov (bass), Vladislav Korotkikh (low whistle, flutes), and Vladimir Semenov-Tyan-Shansky (acoustic & electric guitars) are still involved, while long-time drummer Philip Semenov has now been replaced by Evgeny Trefilov who also provides some keyboards. As is usual, we also have some guest musicians providing additional instrumentation, of which the most key is the trumpet of Alexey Gorshkov.

I have been following the music of Roz Vitalis for well over a decade now, and there is no doubt they are one of my very favourite Russian bands, but one is never quite sure in what direction they are going to lead us, and this album finds us in a different mood to what I normally expect. While there are still RIO elements, there are less of the modern classical (although some songs, such as "Fountain", still demonstrate those roots), and in many ways this release finds the band both experimenting with their sound and becoming somewhat more commercial. This means it is one of the easiest of their albums to enjoy the first time it is played, and I certainly do not agree with some of the comments I have seen regarding the content, arrangements or production as while this may not be as dynamic and off the wall as their wonderful live albums, they are a quite a different band in the studio and this is far more reflective.

This is their eleventh studio release, and it is nice to see a band continuing to explore what they wish to achieve and how they are going about it as opposed to going through the motions. I continue to be excited when I see they have a new release available and while this may not be as essential as some of theirs, it is still one I have enjoyed immensely and isn't that what listening to music is supposed to be about?

Back with their fifth album in ten years, all with the same line-up, instrumental quartet Ovrwfrd continue to prove it is possible to be dynamic, exciting and engaging without a frontman. Playing a genre such as progressive rock is to scratch an itch, not to make money and become household names (sadly), and to cut back the possible listeners even further by forgoing the use of a singer clearly demonstrates just how much this style of music means to them all. Mark Ilaug (electric & acoustic guitars), Chris Malmgren (keyboards), Kyle Lund (bass) and Richard Davenport (drums & percussion) prove that when all musicians are in sync, they create a world where nothing else exists.

It would be easy to say the band relies heavily on the skill and musicianship of Mark and Chris to drive the melodies, such is the interplay between them and the way they mix and weave the threads, taking over or leading the other one in, but that would greatly diminish the roles of Kyle and Richard who are key to the overall success. Take "Eyota" for example, for the vast majority of that piece it is just Mark and Chris, with the others eventually making their presence felt, but it is the not playing and allowing space to breathe which really makes this. That this album was recorded in just five days last August is hard to comprehend, which shows there must have been a lot of live interaction between them. A special note should also be made of trumpeter Dave Foley who plays on opening number "Red Blanket", taking the band much more in a JRF fashion, yet that is just for one song as here we have a band revelling in heavy prog, with some neo tendencies here and there (and some symphonic). This never feels like a prog band out to demonstrate just how clever they are, but instead there is a focus and direction which is often missing with instrumental acts.

Five albums in, and they continue to surprise and delight, long may it continue.

The debut album of ethnic folk-jazz-rock fusion from Turkmenistan. Reminds me of the early albums of Chilean band LOS JAIVAS.

1. "Жиги-Жиги (Девушка) / The Girl" (3:42) great jazz-rock fusion rhtyhm lines with jazz-rock horns and odd 1960s- sounding group vocal singing of folk/ethnic music. (9.25/10)

2. "Туни Деря" (5:28) another set up of great, amazingly tight jazz-rock funk fusion. Then, at 0:42, everybody clears out so that an electrified traditional stringed instrument (balalaika?) steps in to solo for the next minute. It feels as if the band is all there, sitting and watching with the utmost respect as their elder tells his old tale. At 1:45 electric guitar and then drums and bass start to join in. When everybody's back in, the band sounds as if they're channelling the Mahavishnu Orchestra. By 3:00 the music has settled into a Latin-sounding rhythm pattern over which several male vocalists begin singing what feels like their traditional (Arabian) call-and-response vocals. Electric guitar takes the next solo in the fifth minute. These vocals almost sound West African! It just illustrates to me how small the planet really is-- how linked are human musical traditions. (9.5/10)

3. "Акжа Кепдери / White Dove" (4:03) opens like an old blues (maybe blues-rock) song from the 1960s with full band playing low and slow while expert jazz guitar and tenor sax play with Elvis-like male vocal crooning with deeply ambiguous feeling: He's obviously expressing deep feelings; Is he sad or happy? (9/10)

4. "Восточный Сувенир / The Oriental Souvenir" (4:58) heavy rock-based music opens this one sounding like something from Larry Coryell or some Latin percussion band. Wonderful sax-marimba interplay after the bridge in the beginning of the second minute. Eventually Stanislav Morozov's sax and rest of the band drown out the tuned percussion as the band drifts into a more smoothly-flowing motif for Stan's sax to continue his wonderful soloing. Bass and drums are outstanding, as are horn section accents and banks. I'm sure that Don Ellis would be proud! (8.875/10)

5. "Кечпелек (Баллада о судьбе) / Bitter Fate / (The Ballad of Destiny)" (7:08) more Arabic-sounding vocals with some electrified oud-like instrument and percussives supporting with flurries and flourishes. After 90 seconds the rock support solidifies in a slow, dirge-like rhythm track with Hammond, electric bass, and straight-time drums. The oud- like electric guitar continues throughout all this, even when the liturgical singer cuts out, leaving a trail of perfectly tremoloed melody lines up to the odd break and transition starting at 3:55. Bass and drums get to start the next very- Andalusian-sounding section as the full bank of horns joins in. The vocalist returns, continuing in a form and style that seems to connote religious fervor. Great bass and horn play with and beneath the singer. Once he cuts out more impressive Don Ellis-like play ensues. I swear that finish is Latin American! (13.375/15)

6. "Ялан / Cheating" (2:44) part Latin/Herb Alpert-like music, part obvious local ethnic traditional music--with support of Hammond organ and horn section. (8.666667/10)

7. "Коне Гузер / At the Old Creek" (4:15) electric guitar and electric piano support the impassioned ethnic vocal of one of the outstanding lead vocalists (wish I knew which one). Great latent tension hiding within this one--tension that the electric guitar, bass guitar, drumming, and saxophone do their best to release to the wind. So many textures and emotions conveyed in this masterpiece. (9.75/10)

8. "Арманым Галды / Separation (Parting)" (3:12) opens like a traditional South American song before turning to jazz- rock at the end of the first minute. GREAT bass, drums, rhythm guitar, and horn section work beneath the lyrics that just gets better between the vocal sections. Wow! These guys can really play! (And this lead vocalist can really sing!) (9/10)

Total Time 35:30

I've heard that Gunesh's next album, released in 1984, is even better than this one!

A-/five stars; a wonderful display of traditional/ethnic music blended seemlessly, no, virtuosically, into rock and jazz- rock and Jazz-Rock Fusion forms. Definitely an experience I highly recommend for all prog lovers.

I give this band a lot of credit for making an album all about their recently departed guitarist Piotr Grudzinski. How difficult this must have been, especially for Duda who writes the lyrics and sings them. This record is bursting with emotion. Even the song titles, but especially the opener and closer which are just so meaningful. It opens with "The Day After"(Piotr's passing) and the closer "The Night Before"(his passing). I have not felt emotion like this since THE PINEAPPLE THIEF's "Little Man" and to a lesser extent GREEN CARNATION's "Journey To The End Of The Night". Both dealing with the death of a child.

This feels like a record that needed to be made and really it's a one-off in the sense they are a trio not replacing Piotr yet because the three remaining members need to do this together. Yes they brought in three guests with two adding guitar on some tracks and one adding violin on a few songs. Duda's vocals are rough at times, a different style for him but only when he's singing in a reserved manner. These guys are in mourning. Travis Smith nails the art work and we get nine tracks worth 51 minutes.

I do feel this is a four star effort, I mean they really hit some highs here but it's also inconsistent in my opinion. Also it's just too sad for me to even want to play it again. "Little Man" at least had those uplifting moments while "Journey To The End Of The Night" is about as dark an album as I have heard. No light, no hope but they would follow that up with "Light Of Day, Day Of Darkness" an incredible record. Those two are like ying and yang.

So I do have two tracks that stood out for me on this RIVERSIDE record. "Vale Of Tears" for one is just so interesting and I love when it turns heavy 3 minutes in. The next track "Guardian Angel" gives us some light at least early on but eventually I'm reaching for the kleenex. "The Struggle For Survival" is interesting in that it's a 9 1/2 minute instrumental and after 8 minutes I'm thinking PORCUPINE TREE. I feel like there is a ton of meaning in the lyrics for "River Down Below". The lyrics are so emotional on "Lament" and the violin offers that too late to end it.

I love the way the remaining three members honoured their guitarist here on "Wasteland". They certainly dealt with it head on. ONE SHOT decided to make a live album bringing back their original keyboardist but not replacing guitarist James Mac Gaw. A night of emotion no doubt for all in attendance. Keep in mind ONE SHOT is an all instrumental band. A solid 4 stars for album number 7.