Tabula Smaragdina, Hungary ***Inactive***

Progressive rock

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Latest album: A Szavakon Túl (2009). Seems the band last played in 2012, though they have maintained their FB page.

A Szavakon Túl (2009)

Tabula Smaragdina (a Latin word referring to the Hermetic Emerald Tablet) were one of the precursors to Yesterdays, a relatively more known group from Transylvania (Romania/Hungary). Tabula Smaragdina's sole album (to date) is a refined type of progressive rock, with modern Yes sensibilities though there's more room given to vintage instrumentals - the closing track is the best example of what I mean here. Acoustic guitar and piano are put to good use throughout the album. There's light metal riffing here and there demonstrating its modern heritage. References to The Flower Kings and Spock's Beard are not unfounded. When the band aim for more commercial structures, they are more similar to the aforementioned two groups. Which is less to my tastes than neo prog and the late 70s North American proggy AOR acts. This album has a very good reputation on sites such as ProgArchives, but this is where my tastes diverge from that particular mainstream of thought. No right or wrong of course, just a different perspective. A good album on the whole, though not the type of progressive rock I'm personally seeking.

11/26/23 (new entry)

Iluvatar, USA-Maryland ***Inactive***

Neo prog; AOR prog

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Latest release: From the Silence (2014). They still post from time to time though do not appear to be active otherwise.

Iluvatar (1993)

Iluvatar are a band from my second city of Baltimore. They released three albums in the 90s with one reformation album 15 years later. Unfortunately they came around long after I had any interest in what was/is known as neo prog - essentially the early 80s British take on the classic 70s sound (Marillion, Pendragon, IQ, et al). Today I have a great nostalgia for the movement - an updated arena rock face-punch to go with a bit of that sophistication we expect from progressive rock. Honestly this album is more the sound of the late 70s North American proggy AOR bands roaming the countryside, playing anywhere from small clubs to large stadiums. File alongside bands such as Sunblind Lion, Stencil Forest, Fragile (San Jose), Relayer, Avalon, etc... It can get a bit too FM radio/poppy in places, and sure, a little vintage instrumentation would have been nice. All hallmarks of the genre I suppose, through thick or thin. Were this a small private press from 1981, I can assure you this would be a sought after and expensive LP today. Glad to hear it now, as there's no way I would have enjoyed this when it was released.

11/25/23 (new entry)

The Movements, Sweden ***Inactive***

Neo Psych; Space rock

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Latest release: Like Elephants 2 (2014). They were last seen playing live in 2019.

For Sardines Space is No Problem (2009)

The Movements are one of many bands that I put on a curiosity list real time but just ran out of time to listen to thoroughly. This kind of space rock has been - and continues to be - released at a very rapid rate since the late 1990s, and I long ago quit trying to keep up. Apparently the group's roots are with garage rock, and there are elements of that to be found here as well. On track 2) The Movements go barreling into Hawkwind hyperdrive mode, though it breaks into a cool electronic keyboard bit towards the end. The energy level remains high through to the next song. 4) is a folk tinged hazy psych piece with some nice work on percussive bells. No matter, the band can't sit still too long as they're ready to jam. Enjoyed the 60s vintage organ solo. The flute on 7) is a nice touch and provides the type of contrast The Movements need to make their space rock more impactful. The vocal section recalls 70s era Pink Floyd. This is my favorite track from the album. The music deals more in broad strokes than intricacies, and I think that's their garage background coming to the fore. Though Swedish, The Movements sound more like an English troupe from the late 60s transitioning into the 70s.

11/25/23 (new entry)

Aurora Lunare, Italy

Italian prog

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Latest release: Terzo Luogo (2023)

One of many bands I'm surprised to learn that are still around. I do have their 2013 album and rated it excellent, but do not have any notes to support that claim. I'll be sure to do that next time I hear it.

11/25/23 (new entry)

Unreal City, Italy ***Inactive***

Retro prog; Neo Italian prog

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Latest release: Frammenti Notturni (2017)

Frammenti Notturni (2017)

Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said,  Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws. Repeated listens in various settings haven't really swayed me one way or another, and yesterday's attempts resulted in a -1 rating. Hanging onto it for now, as there might be that a-ha moment to come (nope).

Il Paese del Tramonto (2015)

For Unreal City's debut I spoke about how the album was an excellent representation of the Italian progressive rock genre: "The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention."

On their third and (so far) last album, Frammenti Notturni, I added: "Unreal City's 3rd album certainly pushes all the right buttons for the Italian prog rock style. Many shifts in tone and pace, impassioned vocals in the local language, and complex compositions. All that said, Frammenti Notturni seems a bit flat, and the instrumentals can be stilted. Not sure where to point the blame, as there's no real obvious flaws."

Which gets us to the middle child, an album I bought upon release but didn't pen any notes. As you can see from the two scribblings above, it's clear Unreal City are a participant of the Italian progressive rock virtual community. And Il Paese del Tramonto is no different. While it may have that prog-by-the-numbers feel, the album's abrupt transitions are very welcome, perhaps reassuring. I'm not sure why their third album never resonated. I tried on multiple attempts, but ultimately sold it. Fortunately that's not the case here. Maybe the band had reached their creative limit and it had become routine versus exciting. Unreal City have been silent for some time, and their last album is now six years in the rearview mirror. Perhaps this long break will reignite their creative juices. Regardless, Il Paese del Tramonto continues to earn its shelf space. My rating remains the same, now validated.

La Crudelta di Aprile (2013)

A couple of months back I was featuring the incredible renaissance we've experienced the last few years with the classic Italian progressive rock scene. Perhaps unbelievably, I was only about half way when I was forced to stop due to that everyday pesky life event we call a job.

As I'm sure you deduced by now, Unreal City is yet another new participant. Mirror Records presented us earlier in the year with Oxhuitza, a band that blended both old school Italo progressive rock (especially regarding the analog keyboards) with more modern sounds like metal guitar. For those who didn't care for the latter element, then Unreal City will most likely be more to your taste. There's a considerable amount of mellotron on here, though much of it sounds sampled to me (Planet Mellotron has given them the benefit of the doubt for now, querying the public for more info). In the end, it doesn't really matter much to me, as I love the sound - sampled or not. The guest violin adds a much welcomed ingredient. And the pipe organ recalls that old 1972 chestnut Il Paese dei Balocchi. Unreal City strike me as band that will be quickly dismissed by those saying it's "all been done before". Conversely, diehard fans will embrace it without too much questioning. I'm a diehard, and yes, I really like it for certain. I will admit nothing struck out in a head-turning way, like the very best Italian albums can, though I didn't hear anything cringe-worthy either. The style by itself allows for various interpretations of the same song over multiple listens. That's the beauty of it - there's so much to digest, each listen has its own rewards. And you will for certain get your money's worth with Unreal City, an album chock full of twists, turns, and great invention. I very much look forward to their next release!

9/2/13 (new entry); 1/14/22; 11/19/23

Cast, Mexico

Progressive rock; Neo Prog

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Latest release: Vigesimus (2021). 

The band is still actively playing live. They have 21 studio albums, so how much more do they have to offer? We'll see.

Nimbus (2004)

Nimbus is the 12th studio album from Mexico's Cast. At their beginning, Cast were heavily influenced by the neo prog marquee names such as Marillion, IQ, and Pendragon. They released an enormous amount of material in a short period of time, all characterized by the familiar NWOBPR sound, while singing in English. By the time of Nimbus, the band have become more confident with other styles of progressive rock, and are now utilizing their native language primarily. In addition to that, Cast has brought in more instrumentation, which allows for more tonal color, which was missing from their earlier releases. So even though this is their 12th album in a 10 year time frame, it's remarkably fresh and not stale at all. '911' recalls their earlier neo prog past, whereas 'Un Singlo de Invierno' dabbles in prog metal. But mostly this is classic European progressive rock, as might be found in Spain during the late 70s - a band like Crack for example. Make no mistake, Cast aren't retro in the slightest, and this is clearly a work of the 90s and 00's. As with most of the Cast albums I'm familiar with, the album is quite lengthy (the equivalent of two LPs), so it takes quite a bit of time to absorb all the material presented here. To be honest, I don't have much exposure to Cast past their Angels and Demons album, so I'm not sure where the band transformed their sound. Given the strength of Nimbus, I'm quite open to exploring more. 

7/16/18; 11/19/23 (new entry)

Mahogany Frog, Canada-Manitoba

Canterbury style; Post rock; Space rock

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Latest album: Faust (2022)

DO5 (2008)

For Mahogany Frog's prior album On Blue I wrote: "This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock."

Since DO5 was the first album I'd heard by Mahogany Frog, I just presumed it had been more Canterbury styled than On Blue, since I gravitate to the genre. In fact it was the opposite. As I was listening I begin to wonder why I was drawn to the album at all, given its heavier rock nature and post rock underpinning. But as the album goes on, I was taken aback by the energy, which is more Ozric like and definitely could be considered space rock too. Couple that with their inherent knack for melody, and you have a very unique combination. Which is reason enough to find space in the collection. I enjoyed a +1 listen last night (well two actually). In reviewing both Mahogany Frog's that I own, it's clear I didn't have a solid grasp on their sound. I wouldn't mind hearing their other six albums at some point. And it appears they are still active. Cool. I'll add to Under the Radar as well.

On Blue (2005)

On Blue had come up through the weed out stack where the survival rate is very low these days. But happy to say On Blue made it. This is the kind of music I'm really appreciating - highly melodic, analog fuzzy, and prog rock minded. I've never really gone too much for post rock - a bit too static for my tastes - and Winnipeg's Mahogany Frog have those tendencies. But there's also a strong Canterbury flavor here, a style that seems to be a natural fit for post rock. It's a very short album, barely clearing 30 minutes, indicating its preference to be a vinyl release (which it was too). Because of its brevity I listened to it four times straight which allows more time for the melodies to sink. Each listen was better than the last. Those are the kind of albums you want to keep.

11/11/22; 11/17/23 (new entry)

Fren, Poland

Retro prog; Post Rock

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Latest album: All the Pretty Days (2022)

Where Do You Want Ghosts to Reside (2020)

Right from the opening mellotron notes, it's clear this is going to be in the retro prog space, which is how it was described to me as well. What's strange about that is retro prog - as the term has become understood - is primarily a western European phenomena, based on their own country's 1970s progressive rock past. Especially England, Italy, and the Scandinavian countries. And the occasional Yank I suppose. But Eastern Europe's progressive rock scene of the 70s grew up differently. It had no choice, being forced to separate due to Communism. I enjoy both immensely, and it's nice to see a band from Poland make a try. When I think of Poland, bands such as Collage and Riverside come to mind, each being champions of neo prog and modern prog respectively.

Now having said all of the above, Fren aren't Wobbler, Astra, or Anglagard either. There is a distinctive post rock element to their sound - and the lengthy meaningless title of Where Do You Want Ghosts to Reside kind of gives that away. Big sweeping symphonic sound - somewhat modern sounding - as if Pink Floyd circa Animals wanted a try at emulating Jordsjo. I've always struggled with those lethargic fat beats that the genre seems to call for. So yea, Fren are a retro prog post rock band. Read that last sentence again. What a world we live in. Genre's aside, I was a bit fearful that the rhythm section wasn't going to participate, and essentially a computer could have taken over. But my fears were assuaged by the time of 'Gorąca Linia' and especially the jazzy 12 minute 'Pleonasm', quite possibly the highlight of the album. There's a slight resemblance here to fellow countrymen Gargantua. The entire band is quite accomplished, and I truly enjoy their (mostly) analog mid 70s sound. In the end, I'm rating this all instrumental album as "great", with the caveat that I'll need some convincing to move on with the band's next effort. 

5/16/21; 11/12/23 (new entry)

Phlox, Estonia

Canterbury styled; Jazz rock

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Latest release: Keri (2017). The band is still playing live as I update this post.

Keri (2017)

Keri remains the latest release from Phlox who are an excellent high energy jazz rock band from Estonia. They are still around and playing live so the possibility exists for new material. On their prior studio album from 2010 I wrote: "Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, fuzz keyboards and bass, sax and flute, then look no further than Estonia's Phlox."

And that applies here as well. The album in between these two is a live effort and a little bit more unhinged, to be expected given the setting. To be honest, after hearing Keri for the first time four years ago, I was a bit disappointed. Mentally I had categorized it as "too much of the same thing". And while it's true that Keri doesn't match Talu in either melodic development nor energy, the album does possess high amounts of both. I think I just needed a break from hearing too many of these type of albums at once. The break from intense jazz rock was good for me because as soon as this hit the changer I was fully immersed. Phlox has a wonderful thick analog sound without being retro in the slightest. I enjoyed a +1 listen last night which is closer in alignment with their other output.

Vali (2013)

Vali is a live offering from Phlox that predominantly features new material, excepting the last two tracks both from the Rebimine + Voltimine album. The always excellent combination of complexity and melodicism are still in full force. Some of the unhinged improvisational aspects of Rebimine + Voltimine have returned, perhaps not surprising given the live setting. The saxophone certainly pushes the envelope and sometimes borders good taste, but reels it back just in time. Though Vali is my least favorite of the three Phlox albums I've heard, it's still quite excellent. I will say this title has grown on me since first hearing it.

Talu (2010)

Talu sees Phlox tightening up the ship a bit, and keeping some of the looser components of their sound on the leash. If you're looking for a fiery brand of Canterbury influenced fusion with shredding guitar, fuzz keyboards and bass, sax and flute, then look no further than Estonia's Phlox.

Rebimine + Voltimine (2007)

Phlox are an Estonian band that play in the very heavy fusion category (no metal though). Hard driving, fast, complicated and downright exhilarating. A 6 piece group with guitar, sax, Moog, and electric piano being the primary solo components. The opening track alone ‘Rahn’ is likely to leave you with jaw dropped and completely out of breath. We hear flute on this track, and it’s unfortunate that it’s the only use on the album, because the contrast with the heavy guitars and blazing rhythms is awe inspiring. That’s not to say the rest of the album isn’t as impressive, because there’s so much here to like. The only fault I can find is their tendency to take the sax and electric piano jams too far - and thus lose us in the weeds (especially on the last 2 live improvisations, which should have just been left off altogether). Fortunately that’s a few and far between occurrence. Somewhere between Naikaku, Panzerballet and National Health is where you’ll find the sound of Phlox. Superb.

11/14/07; 2/20/11; 5/7/13 (new entry); 11/10/23

Pallas, Scotland

Neo prog

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Latest release: The Messenger (2023)

Never penned any notes about this band, but The Sentinel was one of the very first neo prog albums for me to buy (still have the UK LP original - with the poster). The extended CD version is even better. I'll for certain get some notes down eventually.

11/10/23 (new entry)

Astrakan, England

Canterbury style; Jazz rock

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Latest album: Crab Weather (2023). Yet another band that I was unaware was still cooking!

Comets and Monsters (2012)

While the first album stayed completely in the underground, at least Astrakan's latest album Comets and Monsters is slightly more accessible, being readily available from online retailers. Musically the band stray further towards the jazz end of the Canterbury spectrum. Adding female vocalist and keyboardist Celia Lu has defined their new direction. She sings in a higher pitched fashion - perhaps even pseudo operatic at times - similar to Dagmar Krause. But with a Chinese accent. It's a bit bizarre to say the least. I personally wish they'd exploit their rock abilities, but it seems Astrakan are more intent to stay within the jazz idiom. Henry Cow circa In Praise of Learning is a major influence on Comets and Monsters, but without the annoying tuneless improvisations, thus endearing the band more to my tastes.

Astrakan (2008)

Astrakan starts afire with 'In & Out', which possesses a distinct Canterbury sound but completely run amok. The shredding wah-wah guitar left me breathless. Too bad there isn't much more of that psychedelic sound present throughout. Have no fear though, the melodic jazz rock that the Canterbury sound is noted for remains intact. The jazz influence becomes more prominent in the middle of the disc. Sax and organ all get plenty of time to shine. I particularly enjoy their extended use of the latter. It's important to note that Astrakan focus more on composition and atmosphere rather than noisy soloing, thus endearing itself to me. Highlights include tracks 1, 2, 5, and 7.

4/10/11 (new entry); 1/29/13

Iconoclasta, Mexico

Progressive rock

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Latest album: Alter Ego (2023). Had no idea these guys were still around either! Though it appears the group is mostly a Ricardo Moreno solo act at this point.

Suite Mexicana + Soliloquio (1987)

Iconoclasta were probably Mexico's #1 progressive rock export in the 1980s and a big part of the style's revival in that country. The EP was released three months ahead of the LP proper, and features traditional instruments and melodies among the usual rock instrumentation. I would like to call out guitarist Ricardo Ortegon, who puts in an exceptional performance on both these albums. '7:19' adds flute with fine results. There's also the requisite "side long" track that allows the instrumentalists to shine with longer solo sections, including guest saxophone. Iconoclastic has a distinct 80s compressed sound, that is all their own.

6/21/10; 11/3/23 (new entry)