Orchid - The Mouths of Madness. 2013 USA

There's a lot to admire about the San Francisco based group Orchid. Unlike many modern bands, Orchid took the time to absorb the influences of Black Sabbath rather than just the output, so the possibilities of sound are much greater than what we usually receive. In effect, they are more of a "70's Metal" band, bordering hard rock, prog, psych, and blues rather than generic Stoner or Doom metal. The band are clearly talented, and Theo Mindell emulates a good Ozzy, not plagiarized, but rather influenced by.

The trouble is (no pun intended) that Orchid doesn't do anything with the premise. There are no songs here, no melodies of consequence, no creative breaks, and almost nothing sticks. The long tracks could be half the length, and one would not notice the difference. Sabbath aren't legends just because they were heavy, but rather they could pen a mean tune. Who doesn't get goosebumps on the first air raid sound of 'War Pigs'? There's none of that here. 'Silent One' offers a glimpse of what that could be and 'See You on the Other Side' demonstrates a band who can play within loose jazzy structures, but that's about it. Mind you, everything here is good, no question. But there's no more room in my collection for albums like this anymore. They played it too safe. Perhaps commercially it was the wise thing to do, but creatively it falls short of the mark. And that's where the legacy comes in.

Lumerians - The High Frontier. 2013 USA-California

The High Frontier is essentially the Lumerians' second album, and is largely a continuation of Transmalinnia. The band continue to straddle the line between early 70s motorik styled Krautrock combined with a songcraft and vocal style that sounds every bit like the 1968 American psychedelic scene. There's even the odd Zeuhl bass riff, which is probably unintentional. The production is modern, though the sound is decidedly analog. Fat and fuzzy keyboards remain the centerpiece, with inventive but rigid rhythms and wailing guitar providing the perfect trimming. While none of the songs are what one would call deep, the overall portrait remains excellent.

Ownership: CD: 2013 Partisan

10/26/18 (new entry)

Thieves' Kitchen - One for Sorrow... Two for Joy.... 2013 England

I bought One for Sorrow, Two for Joy upon release, thought it was decent - not great - and filed it away. I was so nonplussed, that it found itself on the "weedout" stack. And that's how I reunited with the album as I was going through said stack. However, this time I heard it completely different, and I'm a bit confused as to why I had doubts in the first place. So let's work through my hang-ups shall we?

This isn't my first encounter with Thieves Kitchen, owning or having heard at least two other earlier albums. With two key members of Anglagard on board (Thomas Johnson (keys) and Anna Holmgren (flute)), it would seem a slam dunk for my tastes. And both pretty much sound the same as they would with their prior/other band (depending on the week). Johnson's Mellotron is all over it (sampled apparently utilizing Mike Pinder's tapes) and Holmgren's flute is as warm and beautiful as ever. And consider that earlier Thieves' Kitchen albums toyed with both a modern sound and a retro 70s outlook. That also remains apparent here. All of this is to my liking honestly. So what was the problem? The vocals. There can be no question that Amy Darby has talent and knows how to sing. That's not the issue. It's a style thing with me. Just as the "androgynous nasally whiny" modern male voice drives me nuts, so does the "breathy I-am-woman" vocals from the better half. It's soooo 2000's. And that's her style - every time she sings. There is no variation from that. But it is a fascinating juxtaposition with the 1973 Anglagard sound. And considering the album is instrumental in nature - I wouldn't exactly call these pop songs with accompaniment - then it's a matter of the ears adjusting. And they have.

So for you the reader, if you like the modern style of female singing and love retro prog, this will be one of your favorite albums. If you struggle as I have with the vocals, give it time or try for a different perspective (honestly that's what I did). If you don't like 70's prog - run far away.

Ownership: CD: 2013 private. The CD is housed in a 3 part digi-pak with a lyric booklet.

3//13; 8/8/17 (new entry)

Atomic Simao - Nodo. 2013 Ukraine

In 1993, this wayward backpacker traveler ventured into the mysterious lands of the Ukraine - a very crazy thing to do for an American in those early post-USSR days. Sticking out wildly with long golden curly hair and a red beard, with those jeans and those white tennis shoes. An easy mark for any number of Russian mafioso roaming about. But I met a girl in Lviv... oh but yes, and not one I would ever see back home in Texas. Completely in awe I was, we struck up quite the torrid romance, one that ultimately ended up in engagement with yet another European adventure a year later with her by my side. And then came the ultimate breakup.... Ah yes, Uncle Genius Hans has lots of stories to share around the dinner table. Just not my current one, as Auntie UMR is there, who showed up but yet a few months later and is still the ever beautiful Mrs. Genius Hans some 18+ years later. And Ukrainian-girl-who-shall-not-be-named must not be named.

20 years later from that breakup event, by pure coincidence, I now own my very first album from the Ukraine. Via my very good friend Spyros... from Greece... naturally. Global economy indeed.

And he was astute enough to release this album on LP through his Cosmic Eye imprint.

Atomic Simao play an improvised space rock. So while not exactly a new concept, their execution is exemplary, and when they catch a deep groove with raging fuzz guitars on top and synthesizers flying above... well, you all know the feeling when that happens...

Ownership: LP: 2014 Cosmic Eye

12/9/15 (new entry)

Alpha Omega - Down the Gravity Well. 2013 Australia

Had someone fed me this album, and stated it was from a cassette from the UK Festival scene of 1985, I would have had no trouble believing them. Though from Australia, Alpha Omega sounds so very English. Hawkwind is obviously in the middle of the conversation with its driving guitars and bleeping synthesizers. The songwriting has that odd lost warehouse sound of the Soho underground, especially given the sparse post punk vocals. Perhaps early Omnia Opera or Strobe could be a guidepost, or something really obscure like Rancid Poultry. Strange to hear something like this from 2013 - but much welcomed. Nice gatefold cover too. Makes me pine for a new issue of Freakbeat.

Ownership: LP: 2013 Clostridium

9/30/15 (new entry)

Fusion Orchestra 2 - Casting Shadows. 2013 England

Well, well, look who's back? I would not have thought of Fusion Orchestra that's for sure. Original guitarist Colin Dawson reformed the band, with 4 new players involved including the all important ingredient of a female vocalist - this time performed by the lovely Elsie Lovelock. Despite the new membership, the band sounds very much like an updated Skeleton in Armour, which is all one could - perhaps should, given the moniker - hope for. Lovelock's vocals retain that husky soulful jazzy tone that Jill Saward brought forth in the early 70s. And it's nice to see Dawson continue to carry a psychedelic sound in his energetic guitar playing. On the keyboard front, Ben Bell, it appears, has decidedly gone with modern gear - much of it representing the sounds of the past, so he has successfully accomplished what he set out to do. The compositions could have easily been composed in 1974 for a followup album, and I'm not sure I could pay a higher compliment than that. 'Cider Sue' is my favorite of the three main 10+ minute tracks presented. Certainly the material has a modern edge to it, and it would be unrealistic to expect different, but it seems a natural progression for the band, and does not come across as forced or contrived. Had this been a new band from 2013, that no one had heard of prior, I think it would be well received by fans of modern progressive rock. It's a tragedy this one escaped notice. Don't miss this one.

Ownership: CD: 2013 Patchwork Studios

9/2/14 (new entry)

Pandora - Alibi Filosofico. 2013 Italy

Just when you think you've got Pandora figured out as an Italian retro progressive rock unit, out comes Alibi Filosofico. They really do open up Pandora's Box on this one, and throw caution to the wind. If one thought Pandora was out of the metal business, then the band made sure there was no doubt they are back in. Only one minute into the release, not only are metal guitars back in vogue, but now they've introduced thrash amongst the usual prog rock mayhem. So perhaps they've decided to go the same route their fellow Italians Garden Wall did? Well.. no, not that either. There's also piano concerto's, straight jazz bits, folk, traditional prog metal, and Banco Del Mutuo Succorso inspired retro progressive Italiana. My only complaint is much of the material is geared towards genre hopping moreso than a fully integrated solution (I see I'm starting to mix my work terms into my music reviews - need to retire). This is a trend we've seen quite a bit over the last decade, and this technique gives the appearance that it's more progressive than it really is. The early 70s masters would use influences or snippets of other genres, but they were rarely self-contained pieces as we find on Alibi Filosofico. Overall, it's a very creative release, though I found myself enjoying the predecessor a bit more.

Ownership: CD: 2013 BTF/AMS

6/28/14 (new entry)

Distillerie di Malto - Suono! 2013 Italy

About a dozen years ago, Distillerie di Malto released a fine classic Italian progressive album, and then disappeared without a trace. Unfortunately it was only a CD-R, and as such I never purchased it (though a friend had a copy so that's how I heard it) - and I'm still awaiting a factory pressed CD.

But the good news is Distillerie di Malto is back! And on Musea no less - a label that seems to have forgotten their past, and have among their midst a stable of mainly modern neo, alt-progressive, or prog metal acts. Distillerie di Malto is anything but - and once again have adorned us with a retro Italian progressive rock classic similar to their 2001 effort. As we look back on 2013, Suono! represents the final bookend for this most incredible year when talking Italian progressive rock.

There are a few distinct individual qualities that makes Suono! so special. 1) The stunning vocals (sung in Italian) from Fabrizio Pellicciaro; 2) The keyboards of Fabiano Cudazzo who, in addition to the usual flight of analog gear such as organ and Moog, makes great use of the good old-fashioned piano, just as his forefathers did 40 years ago; 3) the fine guitar accompaniment of Marco Angelone. He doesn't feel the need to dominate nor bludgeon the listener with metal tones. Everything is placed properly and the guitar (both acoustic and electric) is played in a soulful manner; And finally 4) the excellent flute work from Luca Latini. On the latter point, unfortunately Latini only adorns the first 3 tracks. Just at the point the flute is dropped, Cudazzo's keyboards emerge as the predominant instrument. Every song is of a high quality and, despite the constantly changing moods and tones, the consistency is astounding.

Distillerie di Malto have truly captured the spirit of the early 1970's Italian movement. The music is chock full of complex songwriting and counterpoint juxtaposed against beautiful melodies and impassioned singing. The type of music that keeps you guessing all the way through, but isn't exhausting in its attempt to impress. I found Suono! to be one of the best of all the 2013 Italian albums, which is quite an achievement given the competition.

Ownership: CD: 2013 Musea (France)

3/9/14 (new entry)

Museo Rosenbach - Barbarica. 2013 Italy

I have not heard Museo Rosenbach's first reunion attempt with Exit (2000), but it would seem to be a typically underwhelming reformation album, where the band tried to be relevant, and yet seemed to have no understanding of its real audience. I've seen defenders of the album as well, though no one would be willing to fall on their sword for it I'm sure.

Perhaps the Exit album was a lesson learned for the veterans of the original Museo Rosenbach. Because Barbarica not only addresses its past, but also its future. We've talked about reformations here in the past, and generally they are abject failures. From Italy, Alphataurus and Le Orme have been glaring exceptions as their respective reformations successfully captured the spirit of the original band without them resorting to caricature. Barbarica is similar - except even more successful to my ears. Alphataurus had the added benefit of an unfinished 1974 album to work with, for example. Museo Rosenbach was starting from scratch. Original bassist (and now keyboardist) Alberto Moreno and drummer Giancarlo Golzi are the only steady members across their entire discography. Joining the reunion was original Zarathustra lead vocalist Stefano Lupo Galifi. The latter himself coming fresh off the debut by Il Tempio delle Clessidre which no doubt revived his interest in progressive rock - and most certainly he was held in high reverence by the much younger band that surrounded him. Ego boosts after age 60 don't come as often as they once did I'm sure. Even for myself, I was shocked at just how great his voice still sounded. And he continues to belt it out with the best of them on Barbarica. These three old warriors were then augmented by a new quartet of two guitarists, bass, and keyboards.

What amazes me most about Barbarica is how much the new material represents the spirit of their past, without copying it. The instrumentation is a mix of new and old - and the latter is often represented by the former. One of the most amazing aspects of Zarathustra was their ability to write jaw dropping breaks. Those kind where everyone looks at the stereo and says: Did you hear that? Well, guess what? You'll be doing that with Barbarica too. Like all great bands, it was the synergy of the collective whole that made that 1973 opus great, rather than a collection of soloists. Barbarica is exactly that. It's a true group effort, that retains their brilliant songwriting capability. The band sounds bold and confident. I've read some bellyaching that Barbarica isn't the same as Zarathustra. Well I hope not! While I'm not willing to say it's on the same level either - there are just too many parameters to consider where it would have the same effect on me - I will say that Barbarica may in fact be in the Top 3 of all the great Italian albums released in 2013. And that's a huge achievement given the competition. For me, the best ever reformation album coming from Italy. Yea.... Wow.

Ownership: CD: 2013 Immaginifica. Gatefold mini-LP with cover art that recalls their Zarathustra past, while also looking forward. Just like the music itself.

12/23/13 (new entry)

Le Porte non Aperte - Golem. 2013 Italy

And we continue with the 2013 Italian goldmine. Now this one I waited on for quite some time. Both rating sites I belong to, Gnosis and RYM, had pretty much across-the-board low grades. The reviews were mediocre in most places. But there seemed to be a common theme amongst these reviews. "The vocals are awful..." I wondered: Could it be what I think it could be? Is it possible? So I pulled the trigger on the CD and hoped for the best.

And yes, it was just that. What exactly, Tom? Modern ears aren't as accustomed to that particular roughhewn voice, but I recognized it instantly as one of the true examples of the early 70s Italian sound: The vocals of Delirium, Odissea, and Jumbo. And the first group listed is probably the best guidepost here: Delirium. For years now, I've been screaming at the top of the mountain that Delirium's Lo Scemo e Il Villaggio and III: Viaggio Negli Arcipelaghi del Tempo are some of the real gems from the entire scene. Le Porte non Aperte has tapped into that well. Oh Hallelujah! I thought this was a strain that had gone extinct. The turn on the dime rhythms, fluttering flute, and yes those psychotic gruff vocals. Have no worry, the usual keyboards and guitar are in full force as well. There's a touch of Path of Dreams era Garden Wall here too, which is just another plus for me. And, yes, I do hear some early Osanna as well - especially in some of the bluesy jams (oh you don't think of Osanna in that way? I do, because that's what they were in essence). I love this album, and along with Ingranaggi della Valle, are probably my top two Italian picks for the year. That's saying something given the competition.

I can only imagine if Le Porte non Aperte studied Jumbo's Vietato... album and made a try at that style. Oh my heart be still.

Ownership: CD: 2013 Ma.Ra.Cash

12/21/13 (new entry)

One of These Days & Thee Heavy Random Tone Colour Lab - A Peaceful Nacht in Hell. 2013 Spain

One of These Days & Thee Heavy Random Tone Colour Lab, a band that is certainly in contention for longest group name, are a new space rock / retro prog band from Spain. Specifically they are from A Coruña, located in the far northwest province of Galicia. Now that blew a cobweb off a brain cell, and sure enough, another space rock band came from the exact same town nearly 20 years ago: Kozmic Muffin. Who remembers them? They were one of the bright lights of the mid 90s psychedelic progressive scene. Not sure if One of These Days has any personal relationship with the group, but obviously the region has a propensity towards space rock acts. And there are some similarities in their music.

File One of These Days into the camp that believes music had no reason to go past 1975. You won't get much of an argument from me on that front. The all-analog instrumentation, composition style, and vinyl-only release - in a gatefold cover with lyrics and recording details of course - all point to 1971. Nektar's Journey to the Centre of the Eye or Pink Floyd's 'Atom Heart Mother' suite will certainly set your expectations correctly. The latter right down to the use of a Euphonium. Other modern day (lol) instrument call-outs include Farfisa Compact Duo, Vox Continental, Hammond Porta B, Minimoog D, fuzz bass, theremin, hurdy-gurdy... oh you get the idea. There is only one track, broken into 4 movements, split evenly across both sides of the vinyl with sub titles such as 'Nexus 2CBeautiful Things (including "Gurls & Chloroform")'. Peter Sinfield will be happy to know his legacy is secured. All the right ingredients are in play, and this is clearly a band with their atom heart in the right place. So it's perfect then? Well, no, but it's a great debut. I think the band could work more on the compositions themselves, and perhaps not rely solely on the same music that was created with these instruments 40 years ago. The beauty of the original early 70s movement is that it was way too short of a time frame to fully explore all the possibilities. And while numerous bands of the last 25 years have tried, there are still millions of possibilities. Especially when you load your studio up with only pre-1976 gear. In fact the biggest surprise came from the sequencer use on the 'Nexus...' track mentioned above - that seemed plucked more from Tangerine Dream's Phaedra rather than Dark Side of the Moon. It provided an excellent contrast to the full band performance and psychedelic guitar soloing. I think it's something Edgar Froese would have enjoyed (back then anyway).

So, in the end, we have a very exciting development. Let's see if they do more with the concept!

Ownership: LP: 2013 private. Gatefold. 

12/19/13 (first listen / review / new entry) 

Birds and Buildings - Multipurpose Trap. 2013 USA-Maryland

Birds and Buildings are one of a handful of bands Dan Britton is involved with (others including Deluge Grander, Cerebus Effect, and All Over Everywhere). On top of his considerable music composition acumen, Britton is also a student of the progressive rock genre as a whole. He's not only aware of the surface groups, but also of the labyrinthine underground - many of the same obscure bands I feature often. This deep research shows up in all his recordings, and he seems careful to not fall into the cliche traps he hears in others bands - especially modern ones who have the luxury of history on their side. Not only are music charts well studied, but so is the instrumentation, with a careful mix of analog and modern gear applied. Birds and Buildings would appear to be Britton's vehicle geared towards the more academic approach to rock, often referred to as the Avant Prog genre. Britton states Birds and Buildings charter is: "We play a mixture of intense jazz-rock (often bordering on zeuhl), more experimental symphonic music, and occasional avant-garde heaviness." On both recordings to date, Bantam to Behemoth and Multipurpose Trap, Birds and Buildings have delivered very busy affairs. Nothing sits still for long, and multiple shifts occur across harmonic, dynamic, and metric lines. If I stopped writing here, and that's all there was, I would admire Birds and Buildings but not necessarily enjoy it. But where Britton gets it right is he never loses sight of the song - melody is as important as the structure. As well, free improvisations where various instrumentalists lose total control of what they're doing are forbidden in Birds and Buildings' world. The very best of the Avant Prog bands understand these traits. The jagged nature of the genre can be too cold and clinical for repeated enjoyment, while long stretches of atonal noise are only for those who vacuum the room while listening. As well, I appreciate that Birds and Buildings do not resort to the all-too-predictable cartoon music which is supposed to somehow overcompensate for the seriousness. Also worth mentioning is none of this could happen without the band itself - all very accomplished players who put in a very spirited performance. Kudos to all! So what you have is a band that is incredibly dense like Thinking Plague or 5uu's, but considerably more accessible. I find that I can listen to these albums over and over, which is rare for an Avant Prog album to be honest (for me that is). About the closest comparison would be a band like Underground Railroad - different conclusion, but the same premise. And Underground Railroad features another student of the progressive rock genre, so perhaps it's to be expected.  I suppose if I were to level a criticism, and not that I have to, it would be nice to see Birds and Buildings lock into a groove every once in awhile. This allows the compositions to add some space and breathe a bit, and well... rock dammit. Caravan's 'Nine Feet Underground' is perhaps the perfect blueprint for what I mean here. Complexity, melody, and good old fashioned "in the groove" jamming. As if anticipating such an attack, it is interesting to note that Multipurpose Trap adds in a funk/disco component towards the end - something that the late 70s French bands were so adept at. I thought that was a stroke of genius, completely throwing the academic disposition on its head.

Ownership: CD: 2013 Emkog

12/17/13 (new entry)

Psicomagia. 2013 USA-California

As with another modern US group - Ampledeed - Psicomagia pay homage to one of my personal favorite styles of music. Not Canterbury this time, but rather the freaked out - yet still highly melodic - early 1970s European jazz rock scene. There were many bands operating in Continental Europe that had been influenced by Frank Zappa's landmark 1969 Hot Rats  masterpiece. Perhaps that's why San Diego based Psicomagia chose a Danish label to release their album? Ha! Not really of course, since El Paraiso is responsible for similar retro artists coming from contemporary Denmark like Causa Sui and Papir. And Psicomagia are no strangers to the retro play either, as saxophonist Brian Ellis also plays in Astra (on lead guitar) - a band that I personally adore.

There are only 4 tracks on Psicomagia's debut, and the centerpiece is the two part 27 minute 'El Congreso'. The Spanish titles are not insouciant additions, but rather foreshadow the Spanish poetry interlaced throughout (in very small doses, so don't worry instrumental fans). But the delivery is  deliciously psychotic, yet another reverent memento to the early 70s masters. There are some truly sublime moments interspersed throughout, that achieve supreme peak moments. Sudden shifts in meter is intersected by tight wind charts and insane synthesizer soloing, which are seriously head turning material. Worth noting there isn't any guitar here, but the keyboard tones are such that you won't miss it. At times I was reminded of Larry Young's organ sound on Love Cry Want.

There's only a couple of grumps here from my side: 1) The bass is way too high in the mix and tends to drown out the other instruments. If it were played in the crisp pulsating Zeuhl style, then OK, it would be warranted. But it really sounds muddy - which is a shame since Trevor Mast seems to be putting in a very fine performance. 2) There's no sense of editing, which is a problem for many modern bands. It's straight heroin. Some of the solos could have been trimmed a bit, and a little more subtlety applied on these instrumentals would have been much welcomed. Going full blast / screaming loud all the time is not a virtue, except perhaps in certain fields of metal, punk, and electronica. Regarding 2), this is where I would think a studied listen to an album like Moving Gelatine Plates' The World of Genius Hans or National Health's Of Queues and Cures would pay enormous dividends. I think fixing both of these issues would produce a modern masterpiece. They're close as it is - despite these flaws. Highly recommended.

Ownership: CD: 2013 El Paraiso (Denmark)

12/13/13 (new entry)

Space Debris - She's a Temple. 2013 Germany

Space Debris also have at least four live albums not included above. It would appear that Breitklang is the house label for the band.

Space Debris are a German band that have been releasing albums for over a decade, and if the debut title is an indicator, have been recording for close to two decades. Their albums have never been for sale here in America, or if they had, only from a specialist mail order house and for a short time. Which is surprising really, as I think they'd sell pretty well here - relatively speaking of course. Since I was already ordering from Green Brain in Germany for the Cosmic Circus Music (see UMR site), I decided to throw this one in to save on postage.  Besides it was co-released by Green Brain, and the European write-ups I'd seen gave this one a big thumbs up. As you can probably tell by my album cover display protocol, "She's a Temple" is the only album I own by them - though I do still have a CD-R copy of "Three" which was my introduction to the band. I found both albums to be similar which gives me no reason to believe the remaining albums are any more different than the other. Though I'm sure each album has their peaks and valleys. I would certainly enjoy hearing them all at some point to see for myself.

I would consider Space Debris a Jam Band first and Krautrock band second. Their approach to music is based on the long form improvisational jam centered around the soloists for guitar and organ. On "She's a Temple" there are eight tracks of which only two are less than 8 minutes. Melody and composition are non existent, except if they accidentally stumble into one. The guitarist plays in a fairly heavy style, fortunately just short of the stoner fuzz standard, and certainly not metal. The keyboardist lives for his Hammond organ and 70s era synthesizers and it is he, more than anyone else in the band, that gives Space Debris their Krautrock undertone. While not exactly Orange Peel and Eiliff, one could potentially see those bands playing in a similar style 40 years later. The rhythm section keeps things moving along, and it's clear they have a background in rock rather than jazz. I found myself enjoying the album most when they locked into a solid organ groove. Perhaps it's just not something I hear as much nowadays, compared to the dozens of guitar-centered bands out there. I would say for comparison sakes that Electric Orange, another contemporary German band, is just the flip of Space Debris - that is Krautrock first / Jam Band second. The brooding and hazy atmosphere of the classic German underground is mostly missing here. Perhaps the biggest giveaway was the English spelling of "Temple". Haha - well maybe?

I think by now you can tell if Space Debris are for you or not. Maybe not my favorite type of band, but certainly I found this album enjoyable.

Ownership: CD: 2013 Beitklang

12/8/13 (new entry)

The Worm Ouroboros - Of Things That Never Were. 2013 Belarus

The Worm Ouroboros are a band from Belarus, a country that up until now has yet to make an appearance into my collection. No doubt they came as a reference from Rational Diet, a popular Belarusian chamber rock group, also settled within the AltRock canon.

The Worm Ouroboros are clearly informed by the classic Canterbury scene, and it's most apparent with regards to the fuzzy keyboard tones, copious use of flute, complex meters, kinetic electric guitar, and a melodic disposition.  All of which automatically elevates the album to top tier status in my world. Certainly other classic early 70s progressive influences come to the fore where one can easily spot Steve Hackett, Pink Floyd, Camel, Genesis, Jethro Tull, and even Magma! Some of the acoustic guitar and flute duo's reminded me of Solaris. The Worm Ouroboros should only improve from here, as they start to shed the obvious influences, and their own identity commences to emerge. They're off to an excellent beginning!

Ownership: CD: Fading (Italy)

12/5/13 (new entry)

Beyond-O-Matic - Relations at the Borders Between. 2013 USA-California

San Francisco based Beyond-O-Matic (though leader Fuhry now resides in Austin, Texas) were one of many US space rock bands to emerge on the scene in the 1990s, only to disappear into the ether without a trace. So I was quite surprised to see they have re-emerged, and on America's preeminent space rock label Trail Records no less. This isn't my first experience with Beyond-O-Matic, as I once did own Sonic Reclaimator, but I recall little about it sadly, and it seemed to blur with other bands from that era (ergo Farflung, F/i, Escapade, Salamander, etc...) - many of which I sold back in the 1999/2000 era.

While fully admitting that Sonic Reclaimator isn't on top of mind, I can say with some certainty that Relations at the Borders Between demonstrates growth for the band. It's clear the band is operating with album creation in mind, rather than releasing whatever-we-record, which was in vogue in the 90s (and still is in some circles). So that allows for some judicious editing, and the addition of overdubs allows for much need color. In particular, front man Peter Fuhry's flute is much welcomed. At their core, Beyond-O-Matic remains a jam band, and aren't going to win any conservatory awards for composition anytime soon. But that's not what they're about. As such, the order of the day is long, rambling space rock tracks with guitar, synthesizer, and drums carrying the instrumental load. There are vocals, performed with a hazy high pitched sound to presumably achieve a psychedelic effect.  The music moves forward with a constant slow and relaxed pace. Five of the seven tracks are between 10 and 16 minutes, so I think it's safe to assume that concise meters and sharp breaks are not in the cards. Early 70s Pink Floyd is the blueprint here, but stretched considerably beyond - perhaps to the point of endgame.

Ownership: CD: 2013 Trail

12/4/13 (new entry)

Ampledeed - A is for Ampledeed. 2013 USA-California

Ampledeed is a new group from the Los Angeles area, who clearly have an affinity for the classic early 70s Canterbury scene - unwittingly it may appear. The genre itself has always been a favorite of the UTR, due to its highly appealing combination of melody and complexity. Other characteristics include fuzzy psychedelic tones and a jazzy rhythmic base. And the well studied Ampledeed succeed on all 4 accounts. Of course, much of the "analog" keyboard tones are derived from samples, but that's a small thing. It's the sound itself that counts, right? What's interesting to me is that the band themselves do not indicate that they know Caravan, Soft Machine, National Health, but rather the usual suspects of Pink Floyd, Yes, and King Crimson. So perhaps they came to the same conclusion of Dave Stewart and company, rather than as a direct influence. Even better as far as I'm concerned. I found myself, predictably I realize, enjoying the instrumental work as some of the vocal oriented songs can drag a bit. Really curious where the band goes from here.

Ownership: CD: 2013 private

11/30/13 (new entry)

Il Tempio delle Clessidre - AlieNatura. 2013 Italy

Three years later, we have Il Tempio delle Clessidre's second album AlieNatura. Gone is Galifi, who left to help restart Museo Rosenbach (and what a reformation it is!), and in his place is the also talented Francesco Ciapica. It's apparent, to me anyway, that Mr. Ciapica studied Mr. Galifi pretty intently, as the delivery is very similar, though a different tone to be certain. Musically, Il Tempio delle Clessidre continue very much in the same vein as the debut. Since they had to grind through their debut to find their own style, I'd say the followup is far more consistent.  But I also found that it didn't possess the same amount of peak moments either. Not sure if the "reckless abandonment of amateurs" aspect has been dulled somewhat, and Il Tempio delle Clessidre see themselves as being more professional. It's been my experience that bands who take the approach Il Tempio delle Clessidre has, have actually garnered more support, and I tend to be in the minority regarding this phenomena. Make no mistake, composers Fabio Grema and Ms. Montaldo still know how to compose an intense (or melodic) break like the best of the early 70s Italian masters would. I felt this album was a slight step down, but nevertheless still comes highly recommended. Like any great progressive rock album, Il Tempio delle Clessidre's sophomore album will require many listens to digest. Yet another winner from the landmark 2013 year for Italy!

Ownership: CD: 2013 Black Widow

10/12/13 (new entry)

La Coscienza di Zeno - Sensitivita. 2013 Italy

Continuing on from their debut, La Coscienza di Zeno have made some significant improvements in many areas... and perhaps a few steps back in others. Let's focus on the positive first. The instrumental palette has been increased to include more of an analog orientation, though there is no mistaking this is a modern recording (the robust production alone is to be admired). Piano, in particular, is a dominant instrument here, and when played as expertly as it is done on Sensitivita (brilliant in fact), it certainly recalls the 1970s masters. Choral Mellotron (which may be sampled) is also used in abundance, and the entire dual keyboard format recalls classic Banco del Mutuo Soccorso. Taking the BMS metaphor just a bit further, Alessio Calandriello is proving to be possibly one of the finest vocalists in Italian progressive rock today. While not singing in the operatic style of di Giacomo, Calandriello possesses an incredible voice, that would actually be much admired in today's howling-singer styled pop culture. And perhaps now is a good time to introduce the main issue I have with the album. Sometimes the music just stops, and everyone buys a ticket to watch Calandriello belt out verses while the rhythm section keeps a steady beat.  I'm not sure if there's an Italian Idol TV show, but if there is, then Calandriello most certainly would have to be considered a finalist. He's that good of a talent. However, none of the great 70s Italian masters, who also featured singers with similar golden pipes, would exhibit the patience La Coscienza di Zeno demonstrates here. I just keep waiting for the inevitable breaks, those turn-on-a-dime rhythms with crazy solos, that make the entire Italian prog genre so special. And yes, they do eventually come through with just that, but sometimes after I find something else to do while waiting for glamor boy to close his trap. Perhaps another demerit goes to the guitarist, who adds little but cliched distorted metal chords throughout. While I'm OK with a little extra muscle, I'm not feeling the added value. And the rhythm section keeps things moving along, but they definitely take a back seat to the dual keys and precocious boy. So why the 4 stars? Well it was close to 3.5, but most of the material is very solid, if never actually excelling. The final track 'La Temperanza' (10:38) is the highlight with added flute and violin, adding much needed distractions to the singer songwriter aspirations that begin to creep in. I think La Coscienza di Zeno have left plenty of room for improvement. They have the tools, and the talent, to release a RYM 5 star / Gnosis 13+ masterpiece. Let's see if they rise to the challenge. Fans of Italian progressive rock should take my criticisms as data points, but don't let them keep you from buying this.

Ownership: CD: 2013 Fading

9/23/13 (new entry)

Willowglass - The Dream Harbour. 2013 England

As a reviewer myself, I tend to read dozens of reviews. It can be wearisome to see the same tired critiques by those who think they have something novel to say - when in fact it's the same old blather. Generally these reviews are from newbies who digest 30 albums a day via illegal download and spit out whatever is in their addled brain. They have no context or sense of history. Just bla blabla blabla. Sometimes you can tell they aren't even reviewing the correct album, but something else - probably a mislabled download or one too many bong hits. So with that in mind, I had a bit of fun with the below review, as The Dream Harbour is just the type of album that is ripe for getting picked on.

Willowglass continue to improve with each release. Now a full three piece, Willowglass is beginning to come together as a full unit rather than just a solo effort with a drummer in tow. If progressive rock is a regular part of your diet, then Willowglass are your IHOP. Good ole eggs (mellotron, organ), bacon (flute, violin), and pancakes (guitar) with syrup (soaring guitar)... and coffee (odd time signatures) is what is served at The Willowglass Cafe. Sure, you've had bacon, eggs, pancakes, and coffee a million times before. But when it's all cooked right, you walk out happy and smiling. Willowglass does that for you.

Oh, you wanted scallops with parsnip puree, l'orange spinach, and a balsamic vinegar reduction? Oh that would be the restaurant to our left called the Avant-Garde Noise Cafe!

For the first reviewer that comes here and says this has "all been done before, therefore don't waste your time" you get a gold star!

TWO stars if you look just like a Starbucks' Barista!

And THREE stars if you look like a Starbucks' Barista but have never actually had a job before!

Ownership: CD: 2013 private

9/3/13 (first listen / review / new entry)