Sky Cries Mary, USA-Washington

Neo psych

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Latest album: Everything Goes Somewhere (2023)

Wandering in the Vastness (2021)

I started to plow through this CD upon receipt from the good folks at Trail, but I just couldn't make heads or tales out of it and put it aside for a future evaluation. Two plus years later and that day has finally happened. For the predecessor I wrote: "Sky Cries Mary. Now there's a blast from the past. I haven't thought of this group since the mid 1990s, when they first burst onto the scene. Their 1994 album This Timeless Tuning was all the rage with my running set in those days. I was a bit dismissive at the time, recalling that they were just as immersed into 90s alt rock/indie as they were into neo psychedelia. And I've long struggled to find peace and harmony with the former genre." Secrets of a Red Planet won me over, but Wandering in the Vastness has not, for some of the reasons I mention in my opening prologue. Its very random in its approach, and there's not much in the way of songwriting. It sounds like a product of the 90s, and not the element I enjoy about the decade. There's a lot of music to absorb here and some of it has a nice psychedelic underground and space rock feel. But unfortunately there's not enough here for me to keep. My instincts on the first listen were correct. I just delayed it since Trail was so nice to send it over. I hate leaving anything but positive reviews on welcome submittals, but I just couldn't get into this title.

Secrets of a Red Planet (2020)

Sky Cries Mary. Now there's a blast from the past. I haven't thought of this group since the mid 1990s, when they first burst onto the scene. Their 1994 album This Timeless Tuning was all the rage with my running set in those days. I was a bit dismissive at the time, recalling that they were just as immersed into 90s alt rock/indie as they were into neo psychedelia. And I've long struggled to find peace and harmony with the former genre. But that was 25 years ago, and my life has changed dramatically since then. So I cannot say how I would receive the album today. To be honest I was a bit apprehensive to hear this album after obtaining a copy in the mail about a month ago. I thought Sky Cries Mary were an odd choice for Trail Records - who primarily specialize in Eastern European and Asian space rock - to pick up an old flannel-shirted Seattle based band. But some quick research shows it is I that is completely out of touch (no surprise there...), as Sky Cries Mary not only aren't some reclamation project, but rather a continuing operation. And for the last 11 years they have been part of the Trail Records stable (?!). Nice to see how well I've kept up.

Once the music started, my worst fears faded, and I found the music welcoming on impact. There are most certainly many references to the 90s - a decade, I should add, that I treasure - so that is not a pejorative in my world. The music is, without a doubt, space rock, and it's most certainly psychedelic, in the same way as groups from the 90s were - hence the genre neo psych. There are still some female (and male) vocals, but mostly this is instrumental music with a great emphasis on studio effects, like the great Krautrock masters would do. Guitars and a mass of keyboards lead the way. This is not a stroll through 1970s Vintage Park, but rather modern technology is put to great use. An excellent example of this is 'Trapeze Dancer', which brings in the (gasp) beats, and I found the intermingling of sounds to be quite (pleasantly) jarring in this setting. Part of that reason is the judicious use of them - as that's pretty much the only place that kind of rhythm is used. Otherwise it's good old fashioned drum work propelling the music forward.

While listening to Secrets of a Red Planet, other images from the 90s began to flash by. Including the group Beyond-O-Matic, another Trail Records pickup that we wrote about some 7 years ago. How many of you remember the Kranky label - bands like Jessamine, Magnog, Windy & Carl, and Doldrums? Or the Los Angeles based Farflung? There's traces of those sounds here, but this new effort is far more likable to my ears. Like Beyond-O-Matic, Sky Cries Mary didn't stay content with the past, and has improved considerably upon it. Or at least as my memory would have it. If any of this review resonates in a positive manner, then you represent the target audience. Overall, Secrets of a Red Planet is an excellent addition to the USA canon of space rock albums.

5/19/20; 10/14/23 (new entry); 11/13/23

The Chronicles of Father Robin, Norway

Retro prog

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Latest album: The Songs & Tales of Airoea (2023)

Recommended by a friend.

10/13/23 (new entry)

Moongarden, Italy

Progressive rock; Neo Prog

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Latest album: Christmas Night 2066 (2023). To be released in November.

Moongarden are a long running band (since 1994) that I barely know. I need to spend some time with them.

10/13/23 (new entry)

Wytch Hazel, England

Retro hard rock; Traditional heavy metal

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Latest album: IV: Sacrament (2023)

Recommended by a friend

10/13/23 (new entry)

Mad Fellaz, Italy

Neo Italian prog

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Latest album: Road to Planet Circus (2022)

I own the debut album which has a high rating but no notes to support.

3/25/15 (new entry)

Malombra, Italy

Neo Italian prog

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Latest album: T.R.E.S. (2023)

Interesting to see Malombra back in action. They were one of the early Italian 90s renaissance groups to have popped up. At one point I had their first two albums but sold them years ago long before I had any of these operating blogs. I wouldn't mind hearing them again, plus this new effort!

10/12/23 (new entry)

Alco Frisbass, France

Progressive rock; Jazz fusion

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Latest album: La Mystere du Gue Pucelle (2021)

Alco Frisbass (2015)

At first I wasn't so sure this is something I needed to hold onto. Alco Frisbass' debut starts off with more than a whiff to the avant prog genre. There's ties to genre champion AltRock here, and the circus themes point to groups like Miriodor. But then the duo begin to add many soft touches. There's a soft jazzy undertone that I find very appealing. There's also some odd musical combinations here, and when one sees that Thierry Paysson is involved in the background, it begins to make sense. There's a touch of the Medieval and other later historical references (witness the cover). As the music continues on one could make the conclusion that this is Minimum Vital playing the instrumental music of Caravan. Certainly more Canterbury influenced than avant prog or Paysson's outfit. The keyboards are more vintage than modern hence offering up sepia tones versus brassy digital irritants. Clearly repeat listens will go a long way to securing memory space. Alco Frisbass strikes a fine balance of old and new, unusual for modern bands. My initial rating was correct, I just had doubted it. No more. Keeper.

10/12/23 (new entry); 11/7/23

Sherish, Spain

Rock Andaluz

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Latest album: Escampa (2022)

Recommendation from a friend. Not a lot of recent bands playing in this style, so I'm most curious. Love the logo!

10/12/23 (new entry)

Crown Lands, Canada-Ontario

Retro prog hard rock

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Latest release: Fearless (2023)

Recommendation from a friend. Most reviews compare to vintage Rush, which sounds good to me!

10/12/23 (new entry)

Caravela Escarlate, Brazil

Progressive rock

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Latest album: III (2023)

Recommendation from a friend

10/12/23 (new entry)

Birth, USA-California

Retro prog

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Latest album: Born (2022). Working on a new release

Post Astra; Recommended by a friend

10/12/23 (new entry)

Aurora Clara, Spain

Jazz fusion

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Latest release: Dreams (2023)

Recommendation from a friend.

10/12/23 (new entry)

Diagonal ~ England

Retro prog

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Latest: 4 (2021)

UMR review page for Diagonal

2/15/13 (new entry)

Cirith Ungol, USA-California

Epic metal

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Latest album: Dark Parade (2023). To be released Oct 20. According a recent post, the band is calling it quits in 2024. Seems like a great "band as a brand" opportunity. We'll see, I suppose.

---UMR notes

Frost and Fire (1981)

Los Angeles area based Cirith Ungol were treading the same ground as Wichita's Manilla Road back in the late 70s and early 80s. America still didn't have an organized metal scene to speak of, and there were disparate groups throughout looking to find their niche. Cirith Ungol ended up being pioneers in what was later called Epic Metal. At the time, it seemed like an anachronistic throwback to the progressive rock era, but with a severe hard rock edge. While it certainly can be called metal, and I do, the music is based in late 70s hard rock recipes. But with an eye to more sophisticated arrangements and some room for jamming. Tim Baker screams with the best of them, and it's apparent Rush were also an influence back then. Obviously the big names of the day, Judas Priest and Black Sabbath, will also be recognizable here. Today, Frost and Fire has achieved cult status as one of the great early US metal albums. From the artwork to the overall sound, Cirith Ungol were many years ahead of the pack. Unfortunate they couldn't keep up the momentum like the almighty Road did.

6/14/22; 10/12/23 (new entry)

Galahad, England

Neo Prog; Progressive rock

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Latest: The Long Goodbye (2023). 

All these years later, and I've only heard the below Galahad album. Worth tracking though, as I'm certain to hear more.

In a Moment of Complete Madness (1989;1993)

My original scratch off notes stated nothing more than:

Script for a Jester's Permanent Moving Signal Waves. Yep, that's about right.

So let's dig a bit deeper here. Essentially this is two different releases. One is a reissue of their debut cassette known as In a Moment of Madness. The first five tracks here come from that tape. The music is spot on Grace Under Pressure era Rush. What it lacks is the spark and urgency that Rush brought to that recording. The music here is good, but nothing to grab one's attention. The last three songs were re-recorded for this CD and show a different side of the band. Clearly Marillion and their ilk have made an impression here. The last two songs are extended epics in the early Marillion / IQ style. Perhaps this was old hat by 1993, but I still find music like this charming. 

---11/18/17

10/12/23 (new entry)

Proud Peasant, USA-Texas

Symphonic progressive

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Latest album: Communion (2023). To be released Oct 20.

---UMR notes

Flight (2014)

Proud Peasant are a symphonic progressive band from Austin, Texas, an area more known for country blues or cutting edge indie rock (it's for certain the hipster capital of Texas) - and as such the band find themselves at complete odds with their hometown brethren.  There are 3 lengthy instrumental tracks (12:28, 19:34, 13:20) on Flight, and what sounds to be mostly charted music and well rehearsed. There's a large palette of instruments on display, beyond the usual rock quartet with 70s analog keyboards. Proud Peasant's trademark sound would have to be simply described as BIG. Not in the Godspeed You Black Emperor post rock manner, as this is music that is definitely rooted in the 70s. With that era's analog instrumentation though perhaps as played and produced in the 1990s. Comparisons do not come easily, but Rainbow Theatre at the time of Fantasy of Horses is one such album. Like that album, there is a classical bent to the compositions - but wholly their own and nowhere near a cheesy "rock the classics" kind of endeavor. Given that Proud Peasant are instrumental, you also won't have to battle the pseudo operatic vocals either (though there is some acapella actually (a bit like Pulsar's Halloween), which is mixed creatively with fuzz bass and Moog synthesizer). It's hard to imagine the band being influenced by such an obscure album from Australia, as I would suspect they would react with a collective "who?" - but it's always interesting to see how disparate bands from different eras can come up with similar music conclusions (though I should reiterate the obvious - they are still very different). Perhaps another comparison, though far more superficial, would be Camel's The Snow Goose, another classical styled work with beautiful flute. They saved the best track for last, 'The Precipice', which combines the sounds above with the Scandinavian School of retro prog, especially that of early Wobbler.

7/23/14 (new entry)

Ole Lukkoye, Russia ***Inactive***

Space rock; Folktronica

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Latest: Echoes of Reflections (2019)

Dyatly (2015)

Dyatly is Ole Lukkoye's 7th studio album (not counting the various compilations), and their first one since Kumeneira over nine years ago. And for me, this is the first Ole Lukkoye album I've heard since Crystal Crow Bar, nearly a generation ago. And it's probably been that long since I last heard this band at all, but my recollection was that Ole Lukkoye played a modern space rock style similar to Ozric Tentacles, with copious amounts of Central Asian indigenous music, somewhat like Korai Orom (Hungary) or the modern Russian band Vespero. But Dyatly is definitely more geared towards a mix of electronica and folk. The kind of folk one might hear on an Atman or Magic Carpathians (Poland) album. And it is here I learn of a new genre, but one I wholeheartedly agree with: Folktronica. Wikipedia defines it as such "a genre of music comprising various elements of folk music and electronica, often featuring samplings of acoustic instruments—especially stringed instruments—and incorporating hip hop or dance rhythms".

And yes, Dyatly definitely projects this club like atmosphere. Chill out music for nomadic tent dwellers on psilocybin.

Given my initial expectations of Ole Lukkoye's sound, 'Kommuna Ra' was a bit of a rough start for me. I kept waiting for the space rock parts, but they were never to arrive. Perhaps it wasn't the best way to start the album, but then again, it's possible I've been way too out of touch with the evolution of the band. But by the title track, I was completely absorbed. This is the highlight for sure, with so many ethnic sounds and psychedelic trimmings, I felt myself being swept away to another world. When 'Bela Dama' opened with the female vocals in an almost prayer like chant, I fully expected to be blown into orbit. But here they chose to introduce the club beats, and it suddenly was all too familiar. But then again, Ole Lukkoye are from the (relatively) western European city of Saint Petersburg, which is a long way from the music the band is emulating. 'Just Wind' continues in a similar manner, at times reaching the highs of 'Dyatly'. The album closes pleasantly with 'Veni, Vidi, Vivi'. And at only 4 minutes, it occurred to me that this is one of the problems with the album: The other songs are just too long (all between 14 and 18 minutes). Perhaps a nice mix of 10 different compositions would have made for a better offering.

All in all, a very solid work. One that has me excited to revisit the Ole Lukkoye albums that I already own. This album comes highly recommended to those who would like to hear a band like Atman take their sound to a psychedelic night club... at 2 in the morning.

---8/3/15

Relax in Your Dream (2000)

These are live recordings from 1994 to 1998, and encapsulate the band's live performances after their 3rd album. I much prefer the studio output at this point (or I think I do, it's been forever since I heard any Ole Lukkoye from the collection, not counting their latest Dyatly). Only three tracks have been released before, so that's not the issue here like with most live albums. However Ole Lukkoye goes to great lengths for the perfect "set up", and then never does anything with it, just repeating themselves. I suppose that's what they were striving for in the live experience, but it doesn't translate well on disc  - for me anyway.

---12/20/18

Toomze (1996)

Very similar to the debut. Repetitive world trance music, which is still very good, but I prefer when it's mixed with psychedelia similar to Korai Orom. This album does have a psychedelic effect via the constant percussive beat, exotic instrumentation, and voices, as evidenced most on tracks 5 and 9. 

---9/4/23

Zapara (1993)

Like with Korai Orom, Ole Lukkoye loosely falls within the psychedelic festival circuit as well as various ethnic dance circles. This debut from the Russian group is a bit more world fusion and less psychedelic than their later albums, at least as I recall them. This is a very good title, but I have plenty of others to listen to in this space that are more interesting to my ears.

---6/23/23

Other albums heard: Doo Doo Doo (1998); Crystal Crow Bar (2001)

8/5/15 (new entry)

Il Segno del Comando, Italy

Neo Italian prog

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Latest release: Il Domenicano Bianco (2023)

---UMR notes

Il Segno del Comando (1997)

Il Segno del Comando's debut comes from the 90's renaissance wave of darkly influenced Italian progressive music as promoted by the Black Widow label of Genoa. Their haunting formula includes pipe organ, synthesizer, echoplex'd guitar, and impassioned vocals in Italian. Il Segno del Comando were the culmination of Black Widow's stable of the era, which included Runaway Totem (especially at the time of their debut), Standarte, Malombra, and Abiogenesi. Perhaps a bit more space rock influenced than the aforementioned bands, making it all that much more interesting. As is typical of albums from the 90s, the production is a bit bright and thin - thus diluting the impact of the overall power of the compositions. Also Il Segno del Comando are one of the few Italian bands using a real mellotron during this era.

If there was ever an album that proves the theory that a weak ending can ruin the overall impression, it's Il Segno del Comando. After an impressive 6 track run, the band enters a full 10 minute clumsy 90's styled funk track ('La Taverna dell'Angelo') with no less than the annoying soprano sax in the lead. I'm convinced the low grades this album gets tagged with are no doubt weighed down by this clunker. Try to overlook it.

5/19/13 (new entry)

Love Gang, USA-Colorado

Progressive hard rock; Heavy metal

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Latest release: Meanstreak (2023)

---UMR notes

Dead Man's Game (2019)

I don't even know where to begin on this one. It checks off so many boxes, it's crazy. Down the line: 1) retro hard rock - check; 2) progressive hard rock - check; 3) early metal - check;  4) organ (possibly Hammond) - check; 5) flute(!) - check; 6) local grooves - check; 7) great cover - check; 8) overall coolness - check.

No way would have I ever heard of this were it not for my friends at What's Left here in the Springs. I was looking for something to spend my trade credit on, and they mentioned this album. They know my tastes lean towards the progressive and the retro - and far away from death metal. And they're from Denver? I said why not, I've got nothing to lose. And... all to gain. As is the case here.

It would appear to me that this album may be marketed to the wrong folks. Based on whatever reviews I can find, they seem to be from the metal camp. And that's OK, but for example I saw one person comment it reminded him exactly of Motorhead. Excuse me, but can you remind me again which Motorhead album has flute, sax, and organ? No - this needs to marketed to prog, krautrock, and hard rock fans.

The person we have to circle in the band here is Leo Munoz. Take him out, and you have a cool - but somewhat standard - hard rock band, albeit an interesting one. Munoz is the one responsible for the organ, flute, and sax. You just don't see too many bands today with that kind of talent on hand. He's the X factor for sure. Kam Wentworth is the guitarist, lyricist, singer, and is clearly the front man here. His singing is the one place where Lemmy comes to mind. Though honestly, I hear just as much Paul Di'Anno and even Ron Royce (Coroner). From an overall attitude, sound, and music perspective, I'm most reminded of Fort Worth's Blood of the Sun, though again the flute creates some separation. And considering the latter instrument, the Spanish band Ñu also comes to mind here.

All the tracks are satisfying on some level, though I appreciate the ones with more instrumental breaks. Side 2 is definitely the more adventurous of the two. The closer 'Endless Road' is the best for my tastes. If you're a fan of the late 70s /early 80s hard rock/metal/prog combination - you'll want this.

12/9/20; 8/6/23 (new entry)

Blood Ceremony, Canada

Retro prog; Doom metal

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Latest release: The Old Ways Remain (2023)

---UMR notes

Lord of Misrule (2016)

Lord of Misrule is Blood Ceremony's 4th album, and sees the band time travel even further back than prior. Continuing on with this pattern, perhaps soon Blood Ceremony will sound like The Ventures, while Alia O'Brien dances the Mashed Potato...

Lord of Misrule immerses itself into the 1969 landscape quite successfully, mixing psychedelia, folk, hard rock, with slight traces of prog. Though I've defended Blood Ceremony in the past from sounding just like Jethro Tull, here the band seem to be embracing the tag. So yes, perhaps Stand Up era Tull is indeed the blueprint, with some Jefferson Airplane mixed in, and a cameo from Black Sabbath's first album. All with O'Brien's "witchy woman" vocals layered on top. While the music remains excellent - perhaps I say this due to my predilection for the style - there aren't the standout tracks of the past. It's definitely a very good "mid career" album, with well thought out compositions, but it does lack a certain dynamism.

Let's just hope the next album doesn't feature a cover of Hawaii Five-O. Book 'em Danno.

The Eldritch Dark (2013)

The Eldritch Dark sees Blood Ceremony improve on the already excellent Living with the Ancients. The doom metal Black Sabbath component has been reduced, and a decidedly more typical 1969/70 tone has been adopted in its stead. Oh yes, it's still a heavy album - just not as overt as prior. Organ, mellotron, acoustic guitar, fiddle, and flute are more prominent than prior. From a compositional perspective, the band took a page from the early 70s UK folk rock playbook of Mellow Candle and Fuchsia. And Blood Ceremony are now fully admitted into the Post psychedelic, proto progressive with female vocals club. As I said on my Living with the Ancients review, Ian Anderson wasn't the only one walking around with a flute in England in those days - it was a fairly standard instrument in the 1970 English rock landscape. So you may find comparisons to Tull compulsory, rather than accurate.

Now a word about Alia O'Brien's vocals. Throughout the album, I was reminded of someone very specific. But I couldn't figure it out. Then it hit me. All I needed to do was look at my own list above. It's Silvana Aliotta of Circus 2000, who no doubt was influenced by Grace Slick herself. And the first time I read a description of Circus 2000, her vocals were said to be "witchy". How appropriate, then, that O'Brien has a similar voice. Not sure if it's intentional (probably not), but definitely a cool voice to possess.

All the changes Blood Ceremony implemented on The Eldritch Dark are for the better as far as I'm concerned. Even the lyrics have improved. It's still witch stuff, but at least they seem to be taking it more seriously and professional than prior.

Living with the Ancients (2011)

I personally love the combination of female vocals, flute, organ, and fuzz guitar - so Blood Ceremony can almost do no wrong as far as I'm concerned. Jethro Tull is an inevitable comparison because of the flute, but there are no similarities beyond that. Personally I think bands like Tomorrow's Gift (first album), Goliath (UK 1970), Room, and Affinity are closer to the sound here than Tull. And if you don't know these bands, and enjoy Blood Ceremony, then cool - new albums for you to discover right? (though I feel compelled to mention that none of these groups have a metal component).

3/14/12 (new entry); 5/28/13; 8/10/16