SYMPHONIC PROG

The longest "Petrichor" which comes next, remains in the same musical model, a lot of piano, acoustic guitar this time before the electric which arrives later, certainly the track that I had the most difficulty judging (despite five listens) and the one that I like the least on the album a 7/10 only, the saxophone halfway through refers more to EARTH WIND & FIRE than to SUPERTRAMP (soft and very brassy). I clearly preferred the second part of "Empty Traces" all in emotional restraint, well-placed and not invasive choirs, and a magnificent guitar solo which starts at 2:01, a real and beautiful progressive canvas (9/10).

There is only one left, the eponymous piece "The Passing" which evokes the five stages of mourning and which displays thirty-two minutes on the hourglass, starting with an orgy of strings that we will find a little later in the piece and which offers an instrumental part of more than six minutes in the opening no less, the solo of six strings of the fourteenth minute (Gabriel CYR) is particularly brilliant. An ode to the progressive music that we cherish so much, listening is the only thing to do, a real auditory pleasure, obviously a (10/10) perfectly justified, even metalheads will be happy with the part starting at 25:50 which climbs high in the towers before the delicate pianistic return of the terminal phase.

The only criticism I would make of Jacob ROBERGE, all the tracks are more or less similar, a downside that remains minor in view of the overall quality of the work.

"Supper's Ready" bounces seamlessly from time signature to time signature without loosing any of its footing. The opening track, and main single, "Watcher Of The Skies" is very reminiscent of what David Bowie was releasing at the time. "Watcher Of The Skies" is theatrically dark with Tony Banks' opening Mellotron chords and Steve Hackett's chugging guitar work. "Foxtrot's" lyrical conceits are also more colorful, creative and thought provoking than previously seen on a Genesis album, "Get Em" Out By Friday" being one of these due to it's lyrics of urban overspill.

"Foxtrot" is a definite must have for any avid Genesis fans or really anyone for that matter. Please buy this album. It's worth it its one of their essential classics in their catalog.

That's basically the extent of my review. Of course if the original Snow Goose never existed and this were the original, then it would be a fine album taken as a whole. But I think it's fair game to judge a re-recording in more relative than absolute terms. I'm taking the rating scale very literally here: 2/5, for collectors and fans only. I listened to it once and will never go back.

"1939" with the symphonic intro, cinematic air and its dark strings, acoustic guitar and solemn piano, we are in it ready to face this damn war. "The enemies of yesterday" introduces the story unfolding a melodic, energetic prog metal with a beautiful languorous guitar solo; sound passing to symphonic hard-prog with a song made in France that will have to be adopted under penalty of blocking, always this more French and this less because of the understanding. "La bataille de l'Ebre PT1" follows, long instrumental with the guitar and drums in front, Nicolas's captivating keyboard can approach the sound of L�ode des LAZULI, that is to say, immense also because the reminiscences on the great DREAM THEATER come to light. "La bataille de l'Ebre PT2" a capella piano with Gerald narrating the departure: 2 minutes for a high-flying progressive space, Gionatan keyboard of majestic PROFUSION, very jazzy-proggy with an emphatic sound. DREAM THEATER, Neal MORSE, on boosted JPL with less space on the voice, more musicality. The vocal phrasing mode explaining the horrors of war and the music back and forth on doubts and advances. A melancholic French prog mode with spleen, metal and playful progressive excursions; a point to explain the similarity with JPL for these enjoyable excursions and the typical voice that can slow down the musical journey, yes it is difficult to sing in our language. "Les trains d'ombres" arrives, smelling good because of the voice the melancholic songs of a certain CHRISTOPHE who would have chosen rock rather than pop. The melancholy of the title with the moving side leering at Death, the grandiloquent final crescendo which 'finally' gives French prog rock its letters of nobility flirting with the intimate and the meditative aspect.

"Une colline sans nom" in instrumental facsimile of 'La Bataille de l'Ebre' for its drifts, between hooks and progressive variations. A typical Breton sound coming from a zither, lute, hang, in short a Hispanic vibration inviting you to travel. The symphonic side put forward that we would like to keep until the end; the wild guitar break in stereo then the keyboard � la RUDESS or SHERINIAN choose. This title brightens up even more before settling again on a wind, a guitar arpeggio, sad beauty of Pierre-Emmanuel in action. Back to the original sound with the guitar solo and the spleen on all floors and the drums typical of a Saturday night ball where Herv�, a fan of prog before his time, passed by; the final vibration at the bottom of the trench. "L'encre des maux" with the explanation of the writings of the future shot, an acoustic on cloying and cruel words, is it better to know in French or hide these words in English? It looks at the famous Floydian 'Wish you' and it is worth it for the anthem of remembrance. "Demain � l'aube" eponymous with the sad intro of the cello announcing an imminent death; a calm space before the storm of bullets, a solemn piece where the voice here blends behind the piano. The voice rises and passes more easily, integrating into the musical framework as it goes. Drama, more emotion with the instruments highlighted, guitar and distorted Hammond putting on a show and giving it the finger to death. One of the brothers is going to die, the music then imposes itself with the rhythmic bass, the syncopated drums to trace a delightful harmonic line. The best thing about this album is the musical emotion that emerges from it, I repeat myself; the cello coming to die in the end like an endless wave. "Les passagers du vent" final title, melancholy in mid-tempo for the memory that remains. A contemplative ballad with G�rald whom I have not often named playing a last beautiful solo, drowned by a last eternal wave.

G�rald MASSOIS dares the French concept album par excellence! origin on PROFILPROG.

For some reason, and I have no idea why, I never heard this album when it came out although I reviewed both 2000's 'Sacrament' and 2006's 'Signal to Noise' when they were released. The album has been officially unavailable for some years, although there have been numerous reissues, so it is wonderfully to finally hear it. I have always been a fan of Erichsen's vocals, and the music here is grandiose, pompous and fulfilling which provides a wonderful backdrop as she rises above it all. There are times when it can be quite driving, others it is almost folklike with plenty of nods to Gabriel-era Genesis, and it seems quite strange to me that this album seems to have been overlooked by many as the most recent review on PA is from 2012. I remember when White Willow were being talked about as one of the new hopes out of Norway, and this album demonstrates clearly why that is the case as although it is immediate and enjoyable the very first time it is played, there is a lot going on and it takes multiple listens to get the most out of it.

The strings are sparing, but when they are utilised, it makes a real difference, and one can tell just how close arranger Tirill Mohn was with the band (she played on their debut), while the use of cello and flutes alongside multiple keyboards and twin guitarists provide for plenty of different musical avenues to be discovered while the rhythm section keeps it nailed to the floor. This is possibly my favourite release by the band, and I do wish I had come across it 20 years ago, and all thanks to Karisma for working with the band to get it remastered and reissued as this is a delight.

"The Thoughts Of Emerlist Davjak" is the debut studio album of The Nice and that was released in 1967. It was very well acclaimed after being released. It's considered as one the first progressive rock albums ever made. They released only four studio albums before the group dissolved, after Keith Emerson left the group to found Emerson, Lake & Palmer.

Initially, and this is the line up on this album, The Nice consisted of Keith Emerson (keyboards), David O'List (guitars), Lee Jackson (vocals and bass) and Brian Davison (drums). This was the only album to feature the presence of their guitarist David O'List, which never came to be replaced. The band released more three studio albums, before dissolved.

The name of the album is based on the last names of the band's members. "Emerlist Davjack" is a pseudonym that was created combining the last names of the four members of the group, Emerson, List, Davison and Jackson.

"The Thoughts Of Emerlist Davjak" has eight tracks. The first track "Flower King Of Flies" written by Emerson and Jackson is a typical psychedelic song, so common in the late of the 60's, which reminds me strongly the typical sound of the first musical period of Pink Floyd. The song begins with some strange and irregular sounds and it has some interesting keyboard work. This is a good song very listenable, but it hasn't for me anything special to note about it. The second track is the title track "The Thoughts Of Emerlist Davjak" written by Emerson and O'List. Despite be the shortest song on the album, represents, in my humble opinion, one of the best musical moments on it. It's another psychedelic song, but this time we have a fantastic and unique keyboard work by Emerson. This is really a notable song, completely dominated by the Baroque sound of Emerson's keyboards, completed by some noisy percussions and a fantastic and complex choral work that reminds me the early vocals of The Moody Blues. The third track "Bonnie K" written by Jackson and O'List is a completely different song. It's a typical rock'n'roll song where the dominated instrument here is the guitar of O'List. This is a song that sounds strangely, in a certain way, because on it we can hear the musical interaction between the guitar and organ, which is uncommon on an Emerson's band. It's also a good song, but there's nothing special on it, really. The fourth track "Rondo" written by Emerson, O'List, Jackson, Davison and Dave Brubeck, represents the highest musical moment on the album and it's also my favourite song too. It's a fantastic song and a must for all who love the instrumental songs. This is a song with a powerful musical atmosphere, with magnificent musical performances by all musicians. It's truly a progressive song with an incredible work of Emerson, the most progressive on the album and perfectly at the same level of the best songs of Emerson, Lake & Palmer. This is one of the best instrumental tracks I've ever heard. The fifth track "War And Peace" written by Emerson, O'List, Jackson and Davison is another instrumental song, but isn't as good as the previous one. It's a song more in the jazz and blues styles, very well performed and also with great individual musical works. This is also a very interesting and energetic song with some progressive elements. The sixth track "Tantalising Maggie" written by Emerson and Jackson is another psychedelic song that once more reminds me the early Pink Floyd's sound. It's a song with some interesting musical parts, especially a great classical piano work by Emerson. Apart it, it hasn't nothing more special to mention and it represents probably, the weakest musical moment on the album. The seventh track "Dawn" written by Emerson, Jackson and Davison is probably the most psychedelic song on the album with lot of whispers, breathing and silences. It's probably a hated song by any purist progressive listen. This is, without any doubt, the most irregular, experimental and strange song on the album. However, I must confess that I like it very much because it creates a strange musical atmosphere, very impressive and unique. The eighth and last track "The Cry Of Eugene" written by Emerson, O'List and Jackson is another psychedelic song. It's a very powerful experimental song, played in the style of a ballad with nice piano and good guitar work. This is a song where we can feel the first seeds of what would be the progressive rock.

Conclusion: "The Thoughts Of Emerlist Davjak" isn't, in my humble opinion, the first progressive rock album and it even isn't a truly progressive rock album. However, it's one of the first albums to have more progressive elements and it confirms that The Nice were among the pioneers to develop what which became known as progressive rock. "The Thoughts Of Emerlist Davjak" isn't a masterpiece but it's, in my humble opinion, a very solid album. I must confess that I hesitated to rated it with 3 or 4 stars. After reflecting maturely, finally I decided to rate it with 4 stars because it's in general a very good album with some fantastic musical moments that deserves a very special place in the history of the progressive rock music. It isn't a perfect album but it remains as a very important album in the historical context of the progressive rock music. So, I think it's a fundamental piece of music in any decent progressive musical collection.

Prog is my Ferrari. Jem Godfrey (Frost*)

By the time Moraz had joined the band, most of the material for the album had been written, so much of his influence is not shown with the exception of the frantic jazz-fusion bazed Sound Chaser. One huge characteristic of this album is that the guitar takes a very leading role along with the drumming, making Relayer the "Steve Howe/Alan White" show. Many of the sounds on Relayer are far more aggressive than previous albums with the guitar at center stage, which is by no means a bad thing. From the get go with The Gates of Delirium, Steve Howe shows us that his leadership can produce great tracks and a great Yes album in general.

This opening track is based off of War And Peace, and is divided into three (or four if you'd like) large sections. Kicking things off we instantly notice a more raw sound to this cd, with Steve Howe's guitar dibbling over a small Patrick Moraz background does a great job of emulating a buildup of some sort. Jon Anderson kicks in with his classic vocals, this time dealing directly with the topics war. Throughout this whole song, there is always a lot going on. Even at slower points, Steve Howe's guitar can run at a frantic pace, and Alan White's drumming is always at a top notch level. Moraz throws in his lead keyboard lines from time to time to continue driving the song forward. Then at 4:30 we see a repeat of keyboard line, but Moraz's genuious shines and we see an awesome intro to this line. After one more round of classic Jon Anderson, we begin to enter into the "battle" section. Starting with a guitar line that we have heard already, it becomes perfect when Moraz repeats the D minor chord from the behind and Steve Howe adds just a little bit more to put it over the top. The battle section is an intense fury of music, Chris Squire finally shines in this part putting in his best bass work, and Alan White comes in full force with perfect drumming alongside some quick Patrick Moraz keyboard work. Throughout this part quick changes come along as Steve Howe will go off on the guitar with a fantastic flurry of notes that is quickly succeeded by Moraz with more lines of keyboard goodness. Eventually this all explodes into one final burst that brings up an ascending keyboard line that just keeps climbing higher and higher until it finally shifts to Steve Howe, who puts it over the edge and sends into the section named "Soon". This section is a large departure from the earlier parts of the song in that it is entire soft, but it is also entirely beautiful. Jon Anderson's vocals shine here and round off this song, making The Gates of Delirium one of the greatest progressive rock tracks ever written. This song makes the album in my opinion.

It is incredibly hard to follow up a song like that, and the only track that could possibly follow it up is Sound Chaser. This extremely jazzy piece contains most of Moraz's influence on the album, and it obviously shows. We see some small improvising at the beginning before Steve Howe kicks in with a speedy guitar line, which then goes into the most frantic part of a song that I have ever heard. Between Jon Anderson's vocals, Steve's guitar, Alan White's drumming, Squire's bass and Moraz's keys, I cannot understand what the hell is going on in the verse, but I definitely love and think that it is amazing. Howe once again shows us his guitar flair with a solid solo in the middle, and the whole band shows their technical prowess in this track. Sure, the "cha cha cha's"

To Be Over is a much softer track with a lovely intro and some great pedal steel guitar all the way through. Not one member of the band really shines here until the Steve Howe show comes to town, although the vocal melodies really put a nice calm touch on the song, settling down the chaotic mood that was summoned from the previous two tracks. Steve Howe comes in with another guitar solo over top of a very atmospheric backing and keeps the guitar going until some more beautiful Jon Anderson melodies come back set up some Patrick Moraz noodling, and then the song finally ends on some light lead guitar work with some almost Christmas-like vocals coming about to bring a very wintry feel to the end of a classic album.

Any fan of progressive rock should pick this album up, as it is one of the two strongest Yes albums along with 1972's Close To The Edge, and is also one of the best progressive rock albums. The jazzy feel makes it unlike any other prog album and puts it above more generic sounding bands and works by Yes. Unfortuantely, this lineup would only last for this one album, as Rick Wakeman soon rejoined the band, and they began an effort to phase Patrick Moraz out of the band. On 1977's Going For The One, all that Patrick Moraz saw for his work with the band was being at the top of the "thank's to..." list. But many prog and Yes fans will never forget his great contribution to a great band. Also thank you Brufordfreak for reminding to review Yes

Stylistically the material on "Points of Libration" continues the progressive rock style of the two preceding albums, almost as if 40 years haven�t gone by since the release of "Between Flesh And Divine". The flute is still an important element of the band�s sound and the vocals are as anonymous as they were on the earlier releases. They are decent but nothing out of the ordinary. There are a few musical nods toward the two main men�s Turkish origins but it�s not a dominant musical element. It�s still the mellow, melodic, and at times slightly more epic and atmospheric music of Camel (and to a lesser extent Jethro Tull) that I�m mostly reminded of.

Asia Minor are a well playing unit and "Points of Libration" is not one of those tired and unneccesary comeback releases, that you often encounter. It doesn�t quite reach the heights of the two albums released during Asia Minor�s original run, but it�s a pretty strong comeback release and a 3 star (60%) rating is warranted.

The first thought that may come to mind is this: will the Flower King's first studio effort still sound like it should be a solo artist album? It has happened many times before and after. Zeitgeist was considered as just another Billy Corgan work. The same could be said about Genesis's Invisible Touch with Phil Collins. At first when listening to the first song or two, it may seem like just another Roine Stolt album, but as the album progresses, there are moments in which the drummer or the keyboardist steals the show for a while. So, it is not completely a soloist album. However, it still has its signs to make other listeners think differently. And since this was only the first Flower Kings album, the music was still developing. So, there are places in the album that may be questionable. Other than that, Back in the World of Adventures is mostly composed of good elements.

One nice factor is that Stolt is continuing to improve both his vocals and his guitar playing from his previous works. He adds more emotion into his voice and puts more of a mood to his guitar melodies. Take for example, Stolt executes more difficult solo passages, heavier riffs, and builds more onto the foundation of the group. This only helps them more than they already were.

All the other members as well as Stolt seem to know their prog rock pretty well. They appear to make their music off of the influence of older albums. Oblivion Road sounds like a cross breed between something from Any Colour You Like by Pink Floyd and Moonchild by King Crimson. Perhaps the same could be said about Temple of Snakes. There are times when Theme For a Hero, World of Adventures, and Atomic Prince gives you the ballad feel of Close to the Edge.

The Flower Kings aren't just good at knowing their prog elements in their first album. They also know each of their instruments pretty well too. Roine's brother, Michael, who plays the bass, could possibly match up his level of musicianship with him. The only factor that prevents that from happening is that Stolt has more experience in more instruments than his brother does. Thomas Bodin plays very beautiful keyboard passages throughout the album, giving it more magic. Hans Bruniusson and Jaime Salazar both have a nice percussion talent that gives the album more flavor, rigor, intensity, and eccentricity. And the soprano sax is like the spice; thus completing the recipe that is the Flower King's first album. This proves that the Swedish can make some pretty neat progressive rock.

Another great advantage of this album is that each of the songs is pretty well spread out in time length. The songs longer than 10 minutes are guaranteed to keep the listener busy and interested while the shorter songs are fun, catchy, and contain some the more upbeat feeling to bring the listener back to focus. And another plus: The Flower Kings's content blooms with some of the greatest modern prog elements without sacrificing the older, more traditional ones. This is where another nice sense of balance in the music is found. The only content this album could have used more of is some more moody tunes.

So to conclude, The Flower King's first album is a pretty well done effort, showing a good deal of musicianship, progressive rock content, and balance. There were minor flaws in the first album, but there were more positive impacts in it than bad ones. The Flower Kings would continue to improve over the years until there were even better albums such as Space Revolver, Stardust We Are, Unfold the Future, and much more after this. All of this would be because of an album that brought a new prog rock band to life.