Under the Radar Music: June 2023

Prometheo, Italy

Retro Italian prog

Latest album: Stupor Mundi Vol. 1 (2023)

---notes

D'un Fuoco Rapito, d'un Giovane Uomo, d'un Amore Insensato (2019)

Of a Kidnapped Fire, Of a Young Man, Of a Senseless Love (of course I looked it up...) is the debut album from Prometheo, a decidedly retro band from Italy. Singing in the native tongue while using vintage equipment, the band clearly studied the masters before going into the recording session. While their heart is clearly in the right place, the music is a bit stilted and flat. Some of that is the production and some is the instrument tones. I've seen references to legends such as Museo Rosenbach and Biglietto per L'Inferno, but both are far more kinetic than this album. Perhaps it's too well studied. All the same, a fine debut by a group who shows immense potential.

6/29/23 (new entry)

Anno Mundi, Italy

Progressive rock; Hard rock; Doom

Latest release: Land of Legends (2019)

Land of Legends (2019)

Land of Legends is the 3rd release from Anno Mundi, a 5 piece group who play a myriad of prog, hard rock, and metal styles. A very fascinating album, pigeonholing it is a hopeless task. Anno Mundi are frequently compared to Ozzy and Black Sabbath, but on Land of Legends, that influence is only apparent on the closer. It could be argued their songcraft is too modern to capture the true mood of the original Sabbath.

The opener is the only "normal" metal track here and has elements of Dream Theater and Candlemass. Not a representative offering, though in context with the rest, maybe it is. Things get very interesting on 'Hyperborea'. Violins, acoustic guitar, analog synthesizers, and experimental voices all then lead to an Iron Maiden like NWOBHM styled epic. This is followed by a short acoustic ballad. The 9 and a half minute 'Hyperway to Knowhere' (what?) follows and is arguably the best song on the album. Starts off in a proggy experimental way with plenty of acoustic guitar. Then a really cool hard rock break hits strong with echoed electric piano and heavy guitars. Excellent guitar solos as well. All this leads to the closer: 5) 'Female Revenge', now there's a title to ponder! We're back to metal, but it's of the rawer early 80s quality (think NWOBHM). Now we finally get some Black Sabbath riffs but with a modern touch in the vocal department. Always enjoy the Hammond organ and piano being interjected in tracks such as these. Really bizarre mix of ideas here.

This is one of those albums that has plenty of growth potential. Non-linear and creative.

6/28/23 (new entry)

Seldon, Italy

Proggy AOR

Latest album: Per Quale Sentiero (2018)

---UTR notes

Per Quale Sentiero (2018)

Seldon on Per Quale Sentiero offer up a contemporary and sophisticated styled neo-Italian prog rock with AOR tendencies. Elements of jazz fusion and early 80s Rush are apparent.

6/24/23 (new entry)

Polyfeen, Denmark

Retro prog

Latest release: Den Sidste Vilde (2020)

---UMR notes

Den Sidste Vilde (2020)

Polyfeen are one of those bands from the early 70s that didn't manage to record anything in their era. Many years later a 1972 archival recording surfaced that demonstrated a group with talent but the recording quality was dodgy and not necessarily a pleasant experience. This event though lead to the band reforming with a couple of original members and they have since issued two albums. Den Sidste Vilde is their latest. We see this career trajectory quite a bit in Italy, to mixed results. Polyfeen are one of the better ones to have made a comeback such as this.

The overtly psychedelic cover indicates this will likely be a space rock or stoner metal type album. Fortunately it is not either but rather a mix of retro psych and late 70s styled progressive rock. The second track is a cool little instrumental that could have been done by a band like Saga in their heyday. Track 3 sounds like the most psychedelic aspects of the Beatles. Tracks 1 and the last 3 are their retro prog numbers. It's on these that the band shine the best, especially the closer, arguably the album's high water mark. This one took a couple of listens to soak in, as I thought it might be too similar to other modern groups. But there's some uncommon depth here in the songwriting that makes it a keeper.

6/28/23 (new entry)

Witchwood, Italy

Hard rock; Progressive rock

Latest release: Before the Winter (2020)

A long ago recommendation from my good friend Spacefreak. I hope to check them out at some point.

6/23/23 (new entry)

Arkitekture, South Korea

Retro prog; Avant prog

Latest release: Rationalis Impetus (2022)

Haven't heard yet, but reviews are promising with comparisons to Anglagard meets Art Zoyd. Apparently the group was previously known as Superstring, who have 3 albums to their credit (haven't heard them either).

6/21/23 (new entry)

Solstice, England

Progressive rock

Latest release: Light Up (2022)

---UMR notes

Prophecy (2013)

Prophecy is the 5th album from Solstice, and in a quick turnaround (by Solstice standards that is) of 3 years. There are 5 new, and lengthy, compositions for Andy Glass to explore his emotional progressive style, as first laid out on Silent Dance - and as a shrewd move, three of those tracks from said album have been added as bonus material, having received the Steven Wilson mix, and are included here for reflection and comparison. Prophecy finds Solstice right down the middle of their various styles. A selection of the best - and worst - Solstice has to offer (in my mind anyway). As such, Prophecy is almost certainly not the album that will change minds about them. The album artwork, and overall atmosphere, call out the American West - that of the Native American. There really isn't a more appropriate topic when considering the music of Solstice. It's an interesting anecdote then, that New Life first started sending chills up my spine while driving in Northern New Mexico on my way to Santa Fe from Denver (this was back in 1994). So perhaps I was having the same musical visual that Glass himself was. Let's get to the problematic parts, and then we'll focus on the positive. Solstice, again for my tastes, always had a tendency to retain too much "praise to the heavens" in their music. You can just picture the female singer with her head up, eyes closed, slowly swiveling her hips, palms open and arms sweeping upwards, while howling to the moon in that annoying American Idol way. Pan the camera for a profile shot in a misty light. Not for me I'm afraid, sorry. On this album, you can definitely envision this scenario on tracks like 'Keepers of the Truth' and 'West Wind'. On the flip side, when Glass and company add a little muscle, and the soaring violin and electric guitar begin to lay out the sustain chords, the entire mood shifts from quasi-religious to pure emotional ecstasy. Now in this setting, the crystal clear female voice is heavenly rather than temporal. For this style, we get 'Warriors' and especially the rousing closer 'Black Water' which is absolutely Solstice at their best. The opening track 'Eyes of Fire', like the album itself, straddles both sides of the fence. In any case, I'm a huge Solstice supporter, and would recommend this highly to fans. Otherwise, you may want to start with Spirit if curious about the band.

Spirit (2010)

Spirit is the 4th release from Solstice, coming 13 years later after the disappointing Circles album. This is really all I could have hoped for from a new Solstice album. Picking up where New Life left off, but avoiding the hippy dippy tweeness of Circles, Spirit is a fine collection of beautiful songs from Andy Glass and company. All the trademarks of classic Solstice are here, including the soaring violin and the sweet female vocals. And, of course, Glass' superb guitar leads. And there's a bit of rough edge this go round, showing that Glass isn't all about peace and love after all. I'd like to see him explore his more aggressive and psychedelic side in the future. Overall, a splendid effort from one of the UK's most unappreciated progressive rock bands.

New Life (1993)

With a cleaner production than their debut from nine years earlier, New Life sees Solstice at their height. Andy Glass is in top form here, with some truly majestic guitar leads. He doesn't play fast or technical, it's all pure emotion unlike anyone else I've ever heard. 'Guardian' is one of the most gorgeous tracks I've had the pleasure of listening to. Plenty of wonderful violin and female vocals as well. A rich, beautiful album.

Silent Dance (1984)

Though typically lumped in with the New Wave of British Progressive Rock crowd (or the more common, but dreadful, "Neo Progressive" tag), Solstice were really the odd band out. No Genesis influences here. Perhaps some Renaissance due to the female vocals or even perhaps Yes, because of the generally positive vibes. Solstice play a very beautiful and relaxing progressive rock, with violin, female voice, and searing electric guitar. On this latter point, I could listen to band leader and guitarist Andy Glass all day. He plays in an expressive way like no one else I've ever heard. Recommended.

12/15/13 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

Latest release: Quiet Euphoria (2023)

Second Split (2016)

Amoeba Split are a band from Galicia, in the far northwest of Spain, who play a decidedly UK form of progressive rock: That of the Canterbury movement. Second Split is appropriately enough the band's sophomore effort. It's been 6 years since their debut, and they're now missing one key component - the female voice of Maria Toro. And with that, the late Canterbury sounds of National Health have fled the scene. No matter, as the all instrumental Amoeba Split have stayed the course, and have arguably released an even better album, demonstrating their experience over style. Opener 'Clockwise' is a clear homage to Soft Machine's Third, at that perfect point in 1970 where psychedelic, progressive rock, and jazz meet. Further in the album, 'Backwards all the Time' is once again a tribute to Soft Machine, this time emulating their 1971 sound, and thus tilts more towards the jazz side of the equation. 'Those Fading Hours' blends Canterbury with David Cross like violin, that gives an odd King Crimson vibe, which is unique and very satisfying. 'About Life, Memories and Yesteryears' once again marries Canterbury sounds with something unusual - this time symphonic progressive rock. Perhaps even a trace of Genesis can be heard. But the best for me was 'Sundial Tick' where the band finally demonstrates a bit of their native heritage, though further east towards Catalonia. And hear they blend their trademark sound with that of the classic Gotic album, and is truly splendid. Overall, a fantastic second album, and hopefully we hear from the band more frequently than every 6 years.

Dance of the Goodbyes (2010)

Amoeba Split are one of two current Spanish bands (that I'm aware of anyway) playing in the Canterbury styled jazz rock space. The other is the more known Planeta Imaginario. Of the two, I'd say Amoeba Split are the more purest when referring to the classic bands of Soft Machine and National Health. The instrumentation is right out of the 70's: Hammond organ,piano, Mellotron, Mini-Moog, flute, sax, guitar, bass and drums. The major differentiator here is the female vocals, which are admittedly a bit shrill. Her slightly accented delivery is a bit odd, but I have a feeling that will add to the charm on repeated listens. She's really not that far from some of the early 70's shrieks of Sandrose and Joy Unlimited. But it is unusual in this setting, where we're used to the soft affected tones of The Northettes. Amoeba Split score well on both of the style's major attributes - melody and complexity. A no-brainer pickup for fans of the 1970's UK Canterbury scene.

4/24/11 (new entry); 8/12/16

Logos, Italy

Italian Prog

Latest release: Sadako e le Mille Gru di Carta (2020)

---UMR notes

L'Enigma della Vita (2014)

Logos are a seasoned band from the northern Italian town of Verona, who bring forth an intriguing mix of progressive rock styles from the past. Those coming to this album hoping for a 70's styled sound, however, will most certainly leave disappointed. Even the supposed "vintage" sounds of the mellotron and organ are emulated, or certainly sound that way.

None of which deters this writer in the slightest. Logos seem more like a band of the 90s, that next generation of exciting Italian groups that blended the classics with a more modern sound. From a composition perspective, Logos certainly do look back further to the golden age.

The first impression you'll hear is one of mid 70's Pink Floyd, that peculiar deliberate and methodical songcraft, mixed with heavy spatial atmospheres. It isn't until 'In Fuga', that Logos demonstrate their Italian heritage (beyond the language of course). And the followup track 'Alla fine dell'ultimo capitolo' is where it becomes apparent that Logos came of age during the 90s. In particular I hear the influence of Consorzio Acqua Potabile coming through here. And the third ingredient is a healthy dose of space rock jamming, which provides that spicy kick to take off the implied rigidness. When Logos mixes their ingredients just right, the results can be divine.

One track that will certainly raise your head from your smart phone is 'In Principio', a title that holds a clue. Indeed there is a noticeable pastoral flavor here, reminding one of - yes - Celeste. Midway through there's a splendid space rock jam, as if Sensations' Fix walked into the studio with a bag of psychedelics. I've never heard anyone mix these two styles so splendidly.

On the other hand, L'enigma della vita can drag on occasion, and the rhythms can often be more perfunctory than creative. Personally I found the vocal style to be very good, perhaps not to the standard that Italian prog often brings forth, but if from any other country, Logos would fly high.

There's an enormous amount of music here to absorb, and given that much of it requires one's full attention, the relistenability factor is high. I was torn between 3.5 and 4.0 here (Gnosis 10/11), but given my predilection for the style, I'm staying with the higher score.

12/27/16 (new entry)

Homunculus Res, Italy

Canterbury style (this band needs a decent logo!)

Latest release: Ecco L'impero Dei Doppi Sensi (2023)

---UMR notes

Come si Diventa Ciò Che si Era (2015)

The Italian National Health continues on with their sophomore effort, with native Picchio dal Pozzo, and irreverent Stereolab, trimmings. Basically a continuation of the debut, with more prominent guest stars than prior (from Muffins, Rascal Reporters, New Trolls). Fine with me, as I can listen to this kind of melodic - and complex - music all day. Xenophobes: so sorry for you, must order from Olive Garden menu.

Limiti all’Eguaglianza della Parte con il Tutto (2013)

Homunculus Res is a tremendous new Canterbury styled band from Italy. Following in the footsteps of fellow countrymen Moogg, Homunculus Res have perfectly captured the spirit of another era. Brilliantly mixing melody and complexity, with a jazzy undertone, the 18 tracks on here flow seamlessly, and the album is over far sooner than you might expect. Fans of National Health and Picchio dal Pozzo will most certainly want to investigate. There's also a dash of Stereolab at their most insouciant en Francaise moments. The whimsical and positive disposition of the melodies are at complete odds with the distorted nature of the analog (or faux analog) instruments presented here. I never tire of music like this. Let's see if they can take their ideas to the next level. Highly recommended.

1/30/14; 1/9/16 (new entry)

Hooffoot, Sweden

Retro prog

Latest release: The Lights in the Aisle Will Guide You (2020). They're apparently working on new material for a 3rd release.

---UMR notes

Hooffoot (2015)

Hooffoot are from the southern Swedish city of Malmo, and are an excellent representation of a Swedish progressive rock band... from 40 years ago. Like their forefathers, the band is rooted in jazz, but fascinated with rock. And Latin culture. Sound odd? Not in Sweden would it. So combine Kvartetten Som Sprangde, Sabu Martinez, Ablution, and Mendoza together. Then go back exactly 40 years to one of the all-time Swedish jazz rock greats, and just now being discovered (finally): Berits Halsband. "Oh hello Miles Davis, Kebnekaise, and Flasket Brinner - nice to meet you!". And then enters the room this jumpy, kinetic 90s group called Anglagard (perhaps you've heard of them?). Funnel the lot of them into the blender and grind, mash, grate... Hooffoot. Now that's a cocktail worth drinking!

9/29/15; 2/13/16 (new entry)

Mar Assombrado, Brazil

Progressive rock

Latest release: Geografias Estranhas (2021). They've announced a 4th album called Muito Além dos Espelhos to be released in early 2024.

---UMR notes

Canções Do Farol (2017)

Along with Mantra, Mar Assombrado represents another independently released progressive rock album from Brazil. And while I loved Proximo, Canções Do Farol is even better for my tastes. It's been forever and a day since a new album came out of nowhere like this and knocked me on my ass. The music is assembled in the same way that the Italian masters of the 70s would do it. Flute is a major component of Mar Assombrado's sound, yet another Italian hallmark. It's a mix of soft and hard passages (but not metal), and the compositions never stop evolving. While Mantra is a bit more eclectic, and could be considered a hard rock band at times, there's no mistaking Mar Assombrado for anything but hardcore progressive rock. The instrumentation is not retro, so again we are dealing with the modern era, but I found the tones here quite pleasing. I heard this album 3 straight times in one evening (I hardly ever do that anymore), and it continued to improve with each listen. A really great album as far I'm concerned, and looking forward to hearing more from this band. Didn't realize until very recently Brazil had so much interesting new music coming out in the progressive rock space!

6/10/20 (new entry)

Telegraph, Israel

Retro prog

Bandcamp

Latest album: Mir (2018). They've recently stated they're working on a second album now.

---UMR notes

Mir (2018)

From the very first moments, it's very apparent we're in Mirage or Moonmadness era Camel territory. Highly melodic guitars and 70s analog keyboards drive the music. The album is mostly instrumental, but on the few vocal moments, Telegraph take on a psychedelic disposition. While comparisons could be made to a band like Sanhedrin with their also-Camel styling, Telegraph is far more retro in outlook. A great debut. Let's hope for more.

6/18/20 (new entry)

Il Paradiso degli Orchi, Italy

Neo Italian prog

Bandcamp

Latest release: Samir (2020)

---UMR notes

Il Corponauta (2016)

Il Paradiso degli Orchi are a band I've been reading about here and there, and was intrigued by the descriptions. Especially one that referenced Jumbo. That's like telling my wife there's a shoe sale going on at Nordstrom. At its best, perhaps it'll be the complete surprise that Le Porte non Aperte's Golem ended up being. Well, not quite that, as the vocals are not Alvaro Fella-like. But rather the music is put together in a way that the classic early 70s Italians would do. It all goes together, somewhat haphazardly, but not in the pejorative sense of the word. From the moment you hit play, until 79 minutes later, you will have no idea where it will take you. But it never gets boring or tedious. Like many of you, I also think 79 minutes of music on the same album is daunting. But Il Paradiso degli Orchi pass that test. Il Corponauta is an investment of time, no question about it. But one that is likely to age well on multiple plays.

Il Paradiso degli Orchi already had one release under their belt - one I've yet to hear - before a familiar presence entered their lives. And that would be Fabio Zuffanti, a gentleman who is almost single-handedly bringing Italy back to 1973. So yes, La Maschera di Cera most assuredly belongs in the conversation here. Even though there's quite a bit of mellotron (probably sampled), the instrumentation and production are not necessarily retro, though it's attempting to be so. In that way, Il Paradiso degli Orchi reminds me of early La Maschera di Cera. Flute is another predominant instrument, and played in a manner that does recall the early Italian masters. Nice vocals sung in proper Italian, guitars, and a snappy rhythm section round out the group. Place Il Paradiso degli Orchi in the stack that also includes Ingranaggi della Valle, Unreal City, La Coscienza di Zeno, and Distillerie di Malto. And many others. Lunga vita al prog Italiano.

7/10/20 (new entry)

Superfjord, Finland

Progressive rock

Latest album: For the Moment Vol. 1 (2021)

Still playing live shows in 2024

All Will Be Golden (2018)

This one took awhile to penetrate. Two full listens over 2 nights - with the always illuminating craft beer by my side - yielded nothing but confusion. OK - need to take this one to the car where I'm sober-as-a-judge and hyper critical. Most albums don't survive that. This one did. On a purely superficial level, Superfjord come across as your modern progressive rock band, demonstrating more ennui than enthusiasm. Nihilism at its finest, a philosophy I abhor. But wait, there's way more here than that. Which is why I was confused - otherwise it would have found itself at Purple Peak Records faster than a cat on a chicken bone.

In the mid 1970s there was an obscure Belgian band called Womega - an LP I own and which I have written about here prior - that trail-blazed what Superfjord are doing here. Here's what I said about Womega: "In a nutshell, the album could be characterized as an all-over-the-map type release. But - here's the interesting part - all within the confines of what normally constitutes progressive rock, rather than the usual kitchen sink mentality that represents all facets of music in general. Presented here are pomp, Canterbury, proto, symphonic, fusion, and Zappa styles." And that's what Superfjord is about. Add in post rock, space rock, and Latin fusion, and that's the sum of it.

All Will Be Golden isn't as strong as Womega, mainly because it's not as crisp and succinct. The last two tracks in particular have a great premise, but they just drag it out, verse moving it in different directions. Opener 'Cut and Paste' is the epitome song here (including the name...). Starts off in boring (very boring I might add) post rock territory with even duller vocals only to catch absolute fire about 4.5 minutes in with a brilliant guitar break, recalling Camel at their very best.

In summary, it's a frustrating listen, with some fantastic ideas that makes it worth keeping. For now. Would be great if the band could zoom in a bit more though. Seems they're not sure of their own strengths.

---8/6/20

6/17/23 (new entry)

On the Raw, Spain

Jazz fusion; Instrumental prog

Latest release: Climbing the Air (2019). New album entitled Gravity was announced back in March (2023).

---UMR notes

Climbing the Air (2019)

Modern albums who make a claim to jazz fusion usually don't interest me much these days. But On the Raw play a type of instrumental progressive rock with jazz fusion influences. It's interesting that I had just digested the Scope albums again via the new CD reissues, as On the Raw takes a similar approach. They used to call this music "Euro Rock" back in the late 70s and 80s. The compositions have a focus on melody as well as complexity. On the Raw are a full 5 piece including saxophone and flute, along with some guests on trumpet, violin, and female vocals, so the palette set is varied. While certainly a retro mindset prevails, and the instrumentation is decidedly from a past era, the album doesn't really sound like it's from the 70s. I'm scrambling to come up with a modern band that has traversed the same territory as On the Raw has done here. It rocks harder than fellow countrymen Herba d'Hameli for example. Maybe the debut album by Ingranaggi della Valle is a good guidepost. Sure, we're in obscuroland, but that's where On the Raw resides.

8/6/20; 6/17/23 (new entry)

Look who's back?

Who?

Ah, forget that... Alright it's been a full 3 years since this blog had any activity. Life events is the reason - I had other priorities, including in the music world. But as I look at the future landscape, it appears I'm going to have more time to dedicate to online listening and less for crate digging, which dominated the last 4 years. The current job plays a major role in that, though I have to admit to a certain burnout constantly hustling for records. So while I update some older posts - and have already added new ones based on recent albums I've heard - future postings will not necessarily come from an LP or CD. As I look to trim down the collection, there's only so much space. That doesn't mean I won't buy new albums on CD or LP - of course I will - it just means this blog is no longer hamstrung by that limitation.

I still have some cleanup to do here. 3 years is a long time. Lots of dust. Anytime I repurpose a blog, I tend to blow up the old format and bring in something new. And that's exactly what I did here. I plan on leaving many of these as is - especially from bands that are long gone. At least for now.

Plenty of unique content to follow!

Wobbler, Norway

Retro prog

Latest release: Dwellers of the Deep (2020)

---UMR notes

Dwellers of the Deep (2020)

Here's how I opened up my review of From Silence to Somewhere: "For any number of legitimate reasons I can lay out, it wasn't until November that I heard my first new album of 2017. And that one album was Wobbler's 4th opus From Silence to Somewhere. But what a way to ring in the new year! 11 months belated perhaps, but it doesn't matter because I can say with a certain amount of confidence this will be album of the year for me."

Three years and one month later, and ummm, yea exactly that. In fact I insisted in getting this listen in, lest I miss the entire year. God how I love Wobbler! I keep expecting many other bands to follow in their footsteps, and yet very few (if any) really do. They seem to do everything just right, including awaiting 3 years to release a new album. For 2020, I have figuratively traveled the world with vinyl LPs - given the vast amounts of crazy pieces brought in while digging in the wilds, or inheriting a houseful of records from a fellow collector. Despite that, I love coming home to my favorite "city" - that of early 70s styled symphonic progressive rock. It seems I will never tire of this most wonderful genre.

What one notices about Dwellers of the Deep is they have backslid a bit to their very Yes-like Rites at Dawn. Which is hardly a complaint, but it does take away from their native Nordic Anglagard-y approach of From Silence to Somewhere. All the same, I found myself enjoying Dwellers of the Deep on the same level for the first half of the album. Especially on 'Five Rooms' where I could swear I heard an organ jam that could have come straight from a Caravan album circa 1971. In The Land of Grey and Relayer one dreams of. The second half of the album, while still excellent, didn't quite have as many hair raising breaks and melodies that Wobbler are capable of. At this point, I'm rating the album a skosh off a masterpiece. But of course that could change over repeated listens. Whatever the case, yet another great album by a great band. Let's take that one step further: Wobbler are my favorite contemporary band. Competition is welcome of course...

From Silence to Somewhere (2017)

For any number of legitimate reasons I can lay out, it wasn't until November that I heard my first new album of 2017. And that one album was Wobbler's 4th opus From Silence to Somewhere. But what a way to ring in the new year! 11 months belated perhaps, but it doesn't matter because I can say with a certain amount of confidence this will be album of the year for me. It's currently in the running for album of the decade. Of course not everyone will agree to such an assessment, but as I write this, it maintains the top spot on Gnosis, ProgArchives, and RYM (for the style progressive rock that is - only #42 overall (#32 in 2023), but impressive all the same). For the same reasons Anglagard finds themselves under the bus on occasion, so will Wobbler: It's an old sound brought forth. Oh my though - we're talking an album that goes toe to toe with the best of 1972. From Silence to Somewhere is Wobbler living up to their potential - and then some. I've been a fan since Hinterland first hit the shelves, and had no problem with its, and successor/predecessor Afterglow, obvious Anglagard/Sinkadus worship. Wobbler took an odd turn on Rites of Dawn, circling The Yes Album wagon and draining it completely of all its assets. Though one can't blame the band for taking advantage of Andreas Wettergreen Strømman Prestmo's strong resemblance to Jon Anderson.

But what of From Silence to Somewhere? Well it's pretty much progressive rock perfection, that's what. I've stated this phrase before, but it bears repeating: If you find yourself not enjoying this album, then it's time to reassess your love of classic progressive rock. At a bare minimum I can say this as a matter of fact, rather than opinion: This is what I look for when hearing progressive rock. At this stage of my life, it's rare I want to hear an album more than 2 times straight before moving on to the next one in the stack. With From Silence to Somewhere, it's all I wanted to hear for days on end. I came back to it in the same way I would revisit Close to the Edge as a young teenager. Each time the album would reveal more about itself. Like a John Le Carre novel, it twists and turns in various directions, keeping you guessing even though you already know the outcome. And the sound is so perfect. Thick and wedgy and luscious. You just want to bathe in it.

The 21 minute title track and the closer 'Foxlight' are just merely great. But it's within the depths of the album you find the 2 gems that are lifetime achievements. The moody introspective 'Rendered in Shades of Green' is the definition of a piano and mellotron soaked instrumental. The melancholic feel of a misty windswept Scottish countryside. Then blasting out of the gates comes the piece de resistance 'Fermented Hours' sounding every bit like Il Balletto di Bronzo tackling 'Gates of Delirium'. Every metal band worth their leather strap would love to create this kind of intensity, and yet it's done through an obvious progressive rock lens. Breathtaking.

After the album is finished, there's only one thing left to do. Hit Play again. And again.

Rites at Dawn (2011)

My comments are going to echo many you've already seen - it's clear that Wobbler has made a conscious attempt at recreating the textures, sound and compositions of 1971-1972 era Yes. Personally I think it's a style that has plenty of room to improvise and innovate in, and apparently Wobbler agrees with me, as this is a wholly original work within an obvious context. As such, I find many of the parts quite exciting, with vicious Rickenbacker bass, mellotron, organ, and loud acid guitar leads way out front. Some of the acoustic guitar work recalls other British acts of the early 70s. So the band has clearly cut ties with its Anglagard/Sinkadus early 70s retro-Scandinavian past, and migrated towards the British Isles, just as their ancestors did 1300 years ago. Works for me.

For dyed-in-the-wool old school progressive rock lovers, like me, this one is a no brainer pick up.

Afterglow (2009)

Though Afterglow was released second, this is really a newly recorded version of older material dating back to 1999. Here, the sound is more obviously influenced by Anglagard with mellotron, heavy guitar, grungy organ, flute, woody bass - the whole package. So definitely closer is sound to Hinterland than their newest release Rites of Dawn. Easy recommendation for those into the heavy early 1970s sounds of northern Europe. For me, I'm not sure I'll ever tire of this sound. The more the merrier.

Hinterland (2005)

Not since Anglagard, did a band receive so much attention before their debut release. There were plenty of folks trumpeting its release ("pass the torch", bla bla bla ...) and, not unexpected, a full gathering to say Wobbler are really not all that amazing - overrated, over-hyped, over whatever. Since there isn't a single album that everyone agrees is great, this point / counterpoint is bound to happen in the virtual progressive rock town hall. Personally I don't think we can have enough bands like Wobbler. It's analog keyboard heaven. It has the flutes, the woody bass, the active drumming, the loud fat acid guitar leads, the great production. It's rhythmically complex. It's dynamic with real climaxes and releases. It's an open ended style of progressive music, that allows for many avenues, crooked alleys and hidden piazzas. And it takes many listens to discover the various paths. So not every band is the all-time greatest ever, but if there were 50 bands operating in the Wobbler style, most would score very well with me. Either that, or perhaps we've reached a new pinnacle of cynicism, and you have to begin to wonder if you're even a fan of symphonic progressive rock anymore. Admit it, you stumble on something like this album in the record store: 1974 Polydor Norway. And you wave your hand dismissively and bark "It's just average - whoopeedoo". Yea, sure. Through it all, I can't help feeling bad for good ole' Sinkadus. They're really the only other modern band that went down this route in the 1990s, and they were just TRASHED for daring to walk the sacred ground of Anglagard. Time will most certainly be good to Sinkadus. Time has already been good to Wobbler. Bravo!

7//05; 7/27/11; 10/15/11 (new entry); 11/30/17; 1/5/18; 12/30/20; 9/9/23

FEM / Forza Elettromotrice, Italy

Italian neo prog

Latest release: Mutazione (2018)

---UMR notes

Mutazione (2018)

Mutazione is the second full album from the band sometimes known as FEM Prog Band. This latter moniker has all kinds of conflicting connotations in English, so it's good to see the band moving towards their actual pre-acronym name. Musically speaking, the album is a bit more subdued than its predecessor, though still very much entrenched in the Italian style. New band members Alessandro Graziano and Pietro Bertoni provide two of the more distinctive sounds of Mutazione. The former brings a strong voice and occasional violin, while the latter adds trombone to the proceedings. Anytime I hear trombone mixed into Italian prog I first think of Jumbo's Vietato, and the instrument is utilized in a similar brassy way here. Primary songwriter Alberto Citterio provides some gorgeous piano lines along with the usual synthesizer kit. Highlight songs include 'Il Cielo Di Sé' and the closer 'Se C'É Una Buona Ragione'. Overall Mutazione proves to be an excellent entry for the genre.

11/2/14; 11/22/18 (new entry); 1/24/21

La Maschera di Cera, Italy

Italian retro prog

Latest: S.E.I. (2020)

S.E.I. (2020)

La Maschera di Cera is arguably the band that best represents the Italian early 1970s progressive rock renaissance. I made that same point a few years ago for my modern Italian prog list. It's been a full 7 years since their last album, the fantastic Le Orme influenced Le Porte del Domani. So has La Maschera di Cera continued to improve or did the rot sit in?

The album gets to business right away with thunderous woody bass, crunchy Hammond organ, complex rhythms leading to Martin Grice's (Delirium) flute, mellotron sounds, and Italian vocals. You just got your answer. Boom! And they don't let up from there. 3 tracks and 45 minutes later and there's nothing but greatness to reflect on and savor. This is an album made by retro prog guys for retro prog guys. No room to negotiate here. You're either in or you're out. With their 6th release in 18 years, I think La Maschera di Cera has somehow managed to top everything they've done prior. They continued to improve with age, and clearly are ardent students of their own native early 70's music culture. Brilliant really.

---1/25/21

LuxAde (2006)

Hard working bassist Fabio Zuffanti has many bands (Finisterre, Hostsonaten, Aries, Zaal, etc…), and each one represents a certain sound that he likes to explore more in detail (his initial band Finisterre is the one that is truly eclectic). La Maschera di Cera is his vehicle dedicated to the early 1970s Italian progressive rock scene, with only vintage gear being deployed. Along with the usual keyboard (Hammond, Mellotron, Moog), fuzz bass and guitar sounds, there’s quite a bit of flute, an instrument that was predominantly featured in 70s Italian music. In the end, the group achieves what it sets out to do, though I’d say LMdC are not quite as complex of some of the finest bands of the 70s (Jumbo, Semiramis, Banco, RRR, etc..). LuxAde is their 3rd album, and is arguably one of their finest (as I update this in 2019). It's really hard to imagine being a fan of Italian prog and not walking away from LuxAde completely satisfied. The style has been well-studied and executed here by the band. There's a reason why I chose La Maschera di Cera as my primary group for the renaissance of Italian Progressive Rock list: Italian prog from 1987 and beyond.

---1/4/19

Other albums heard: La Maschera di Cera (2002); Il Grande Labirinto (2003); Petail di Fuoco (2010); Le Porte del Domani (2013)

6/16/23 (new entry)

Wucan, Germany

Progressive rock; Krautrock

Latest release: Heretic Tongues (2022)

Reap the Storm (2017)

"This one took awhile to penetrate. Two full listens over 2 nights - with the always illuminating craft beer by my side - yielded nothing but confusion. OK - need to take this one to the car where I'm sober-as-a-judge and hyper critical. Most albums don't survive that. This one did." Part 2: Germany edition. Like the Superfjord album, Wucan provides a difficult-to-consume-on-one-listen extravaganza. And like Superfjord, Wucan provides a panoptic view of music, this time it's with a German focus, which explains why I probably enjoyed it more overall. Wucan are lead by Francis Tobolsky, and her vocals are a major part of the sound, along with her trusty flute. In this way, Wucan could be looked at as a German version of Blood Ceremony. But no, it's certainly not that, and Black Sabbath isn't really an influence here. Rather it's the classic Krautrock sound of the early 70s. With the strong feminine presence, Frumpy leaps to the front, though musically perhaps first album Tomorrow's Gift is more accurate. But then there's this early era 1980 NWOBHM style found on a couple of tracks. And a lengthy cosmic Krautrock piece, some Blues Pills like work, and even some Pilz label psychedelic folk. Most tracks are in English, but some are in German. So as you can tell, it's more of a compendium of the best of German progressive rock. In this way they're more like the 70s group Metropolis, or even the more modern Polytoxicomane Philharmonie. Yea, I'm name dropping like crazy here. And that's why it takes so long to grasp the album. Keyboards definitely take a backseat, and the guitars are driving the bus. Oddly there isn't anything extraordinary about Reap the Storm, despite all the great references. Perhaps it's too measured and studied, but all the same, if the bands above check in to your personal motel, then certainly Reap the Storm isn't to be missed.

---8/6/20

Sow the Wind (2015)

I have their second full length album reviewed above, and general wisdom has it that it's the greater of the two. But I liked this one better - really strong heavy psych / prog / Krautrock. The latter shows up in particular on the final 15+ minute track. By the time of the female narration in German, you know you're sitting on a near masterpiece. One of the better recent-era albums I've heard.

---2/12/22

6/16/23 (new entry)

Swifan Eolh & The Mudra Choir, Norway

Progressive rock

Latest release: The Key (2019)

---UMR notes

The Key (2019)

Over 30 years ago, there was a new band from Norway that appeared on an also new LP-only imprint called Colours. That group was known as Utopian Fields, who managed two albums, and both of those have just recently received a CD reissue on the Norsk Classic Albums label. Swifan Eolh & The Mudra Choir (these monikers...) is version 2.0 of Utopian Fields, among others. All the newer bands from Norway are very well studied, and the music they produce is excellent, if not necessarily ear catching. You could read what I said about Tusmorke's latest, and apply it here. Unfortunately these Norwegian albums tend to all blur together (excepting Wobbler of course). I probably need a few hours of intense listening to begin to sift them all through my mind. For The Key, I listened to each side twice, but no specific words emerged. I didn't care for 'Tides are Turning' and liked the opener 'Wounded Dreamers' best. ProgArchives for their part make a point to call this "eclectic prog". I wouldn't have a clue what that meant, but Swifan Eolh & The Mudra Choir do seem a perfect fit for such a wide ranging genre. As for that defunct label Colours, Utopian Fields could be seen as the most obscure on the imprint, considering no less luminaries than Anglagard, Anekdoten, and Landberk all debuted there. Swifan Eolh & The Mudra Choir will be even more obscure in the annals of time.

5/9/22; 6/16/23 (new entry)

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