Paatos ~ Sweden

Progressive rock; Post rock

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Latest: Ligament (2025) To be released May 14.

First new album in 13 years!

10/26/18 (new entry)

Oresund Space Collective ~ Denmark ~ Sweden

Space rock; Krautrock styled

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Latest: Alotta Hella Down in Estrela (2025). To be released May 5.

UMR review page for Oresund Space Collective

9/8/11 (new entry)

Mother Black Cap ~ England

Progressive rock

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Latest: Caveman TV (2023)

Mother Black Cap are still playing live and promise gigs throughout this year and into 2026.

The English Way. 2009 Cyclops. To be honest I didn't get too much out of this release. Mostly I heard broad stroke Pink Floyd styled art rock. Post Animals style. Which isn't really my brand of progressive rock. For their part the band points their references to the melodic 70s classics such as Camel and Focus. And they like the "twiddly prog bits". All of which I heard very little of. The primary exception being track 4. Up for hearing more from this lot, and they're still active. This wasn't my album though.

4/20/25 (new entry)

Overworld Dreams ~ USA ~ New Jersey

Progressive rock

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Latest: Geography (2024). Latest FB post suggests a 4th album is very much in the works.

Voyage (2018)

Overworld Dreams are a contemporary progressive rock band who self-describe as "New Jersey-based Prog rockers bringing old school sensibilities to modern Progressive Rock." Sounds like my kind of group!

Where to start? I always like to go to the beginning of the discography and work my way forward over time. Unless there's a strong reason not to do that, which is not the case here. As I hear these new bands releasing quality albums such as Voyage to a very small audience, I feel a sense of gratitude is much needed. From a listening perspective, what if I had discovered a tape from the 80s that sounded like this? I'd be over the moon. Such is the luxury of today and the sheer amount of product that is available to us. 

ProgArchives for their part has Overworld Dreams labeled as neo prog, as does RYM. At first I wasn't so sure of either the 70's reflections nor the neo prog tag. But as the music penetrates, both of these reveal themselves. The keyboard interludes suggest an interest in 70s electronic music as well. Like many modern prog bands, the music can be a bit broad stroked, and lacks the jazzy rhythms that brings the instrumental sections to life. In this way, the term art rock comes forward. It misses the retro prog train due to a lack of analog gear, though 70's sensibilities is not the same thing as 70s's emulation, which I figure Overworld Dreams is well aware of. Nice guest appearance from guitarist Scott McGill, most known for being an integral part of Finneus Gauge, a band that was relatively well known in the late 90s. His solos provide a much needed edge.

As for best tracks, an old schooler like me gravitated immediately to 'The Puzzle'. Tracks 1, 5, & 8 are others I really enjoyed along with the electronic interludes. Good stuff all around. I'll be sure to circle back at some point and capture their next album and beyond.

4/20/25 (new entry)

Great Wide Nothing ~ USA ~ Atlanta, Georgia

Progressive rock; Neo Prog

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Latest: A Shout Into The Void (2025). 5/2

The View From Olympus (2019)

Great Wide Nothing are from Atlanta and clearly embrace progressive rock at its early 70s UK major group peak. Classic Yes and Genesis seem to be front and center and the vocals have that distinctive Fish neo prog edge to them. I like the woody bass sound, something that should be required for any up and coming prog group. Piano, organ, and analog synthesizers are also part of the recipe. And some fake mellotron. This is one of those oxymoronic retro / neo prog type acts. The standard bearer for such a phenomena would be Cliffhanger, that most wonderful Dutch band that largely went unnoticed.

11/24/24 (review)

11/24/24 (new entry)

Helmet of Gnats ~ USA ~ Connecticut

Progressive rock; Jazz fusion

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Latest single: Sunday Drive (2025)

Latest album: Travelogue (2020)

UMR review page for Helmet of Gnats

1/21/24 (new entry)

Hooffoot ~ Sweden

Retro prog

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Latest: Phantom Limb (2025)

UMR review page for Hooffoot

9/29/15 (new entry)

Gösta Berlings Saga ~ Sweden

Post rock; Avant prog; Progressive rock; Retro prog

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Latest: Forever Now (2025). To be released June 6.

UMR review page for Gösta Berlings Saga

6/24/11 (new entry) 

Echolyn ~ USA ~ Philadelphia, Pennsylvania

Progressive rock

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Latest: Timesilentradio ii + Timesilentradio vii (2025). Released (separately) on Mar 7.

12/31/23 (new entry)

Glass Hammer ~ USA ~ Tennessee

Progressive rock

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Latest: Rogue (2025) Will be released Apr 11.

UMR review page for Glass Hammer

10/8/18 (new entry)

Hokr ~ Czech Republic

Retro prog; Progressive rock

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Latest: Meandrea (2025)

UMR review page for Hokr

4/28/11 (new entry)

Nuova Era ~ Italy

Neo Italian prog

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Latest: 20.000 Leghe Sotto i Mari (2025). To be released Feb 28

UMR review page for Nuova Era

5/4/12 (new entry)

Solstice ~ England

Progressive rock

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Latest release: Clann (2025) To be released 4/4.

UMR review page for Solstice

12/15/13 (new entry)

IQ ~ England

NWOBPR; Retro prog

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Latest: Dominion (2025) 3/25

UMR review page for IQ

12/30/14 (new entry)

Happy Family ~ Japan

Progressive rock; Zeuhl; Avant prog

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Latest: 4037 (2025). To be released Mar 19. First new work in 11 years! It's an EP apparently.

Minimal Gods (2014)

It would be 17 years until we finally heard from Happy Family again. Their third album Minimal Gods sees Happy Family moving in new directions while maintaining their brand identity as it were. If you came to this album looking for a somewhat similar sound to their first two albums then... I have good news, you will not be disappointed. But as indicated, Happy Family have begun to tread new waters.  Most notably, an obvious modern math rock component has entered into their overall sound. Normally that's a term that is anathema to me, but in the capable hands of Happy Family, they are able to transcend the genre norms of clinical and cold precision, for something more alive and a sound that bursts from the speakers. Some would argue they always had a math rock type sound, and that may be true to some extent, though I personally heard more Present and even Canterbury if considering Happy Family's first album. What's most interesting to me is that Minimal Gods doesn't sound anything like the first two albums, and yet the music is entirely - and non mistakenly - Happy Family. There's a certain genius in being able to do that without alienating your fan base. Let's hope we don't have to await another generation to hear a 4th album.

---11/18/14

Toscco (1997)

Happy Family's second album is a bit more "avant prog by the numbers" than the debut which was more of a consolidation of personal influences (Zeuhl, Symphonic rock, Canterbury, Chamber) and then sped up 10x. The intensity is still apparent, though there's more of an attempt to integrate cutesy type melodies - a hallmark of the genre - as if to overcompensate for the unrelenting tension the band brings forth. There's really no standout tracks, though the two lengthier numbers seem to play to Happy Family's strength of producing massive - and fast moving - slabs of sound. Toscco is an excellent sophomore effort, and many see it as an improvement, though I felt it was more of a step back to a safe zone, and thus less influential and reckless than the debut.

---11/18/14

Happy Family (1995)

Perhaps no band arrived with such an in-your-face sound as Happy Family did in 1995. Their fabled live shows were popular amongst the tape trading crowd of the early 1990s. So there was quite a bit of buzz on what their first CD would sound like. The band insisted their albums come out on the preeminent Avant Prog label Cuneiform, and were willing to wait until that label had room on their release schedule. By 1995, anticipation was high, and Happy Family not only delivered, but exceeded, most everyone's expectation.

Consider the first track 'Rock & Young'. Hard to imagine anyone delivering such a strong overpowering opening punch as Happy Family did here. If this track doesn't move your heart rate up a few beats, you're probably dead already, and no one told you (did Aunt Sally forget your birthday for the first time? well, there you go...). And it gets more intense from there. With fuzz bass, fiery sustain electric guitar, staccato piano, buzzing synthesizers, spastic rhythms, and an incredible imagination, Happy Family has to be in the discussion as one of the best albums of the 1990s. The label's comparison of a mix between Magma, King Crimson, Weidorje, Area, and Univers Zero are just flat out spot on. Happy Family took what Belgium's Present were doing in the 1980s, and accelerated it by 100 mph. Strap your seat belt on - hit play - and roar through 50 minutes of incredible intensity and complexity. Get rid of your treadmill, you'll burn 1000 calories just listening to this album. Need.... Gatorade.

---11/18/14

11/18/14 (new entry)

Banco del Mutuo Succorso ~ Italy

Italian progressive rock

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Latest release: Storie Invisibili (2025). To be released Feb 28. 

Transiberiana (2019)

Banco del Mutuo Succorso would be a good example of my concept of "bands as brands". With charismatic opera styled singer Francesco di Giacomo and long time guitarist Rodolfo Maltese no longer with us, there's no chance for a true reunion. In addition, the original rhythm section is nowhere to be found. And finally, brother Gianni Nocenzi hasn't been with the band for some 35 years. That leaves only keyboardist Vittorio Nocenzi carrying the torch. In tow are 5 new members, each talented in their own right. So if Banco were to remain an functioning entity, it could very well do so even if V. Nocenzi can no longer participate, or even want to.

This prelude is poignant with Banco del Mutuo Succorso because Transiberiana lays out a blueprint for the future, not a retread of the past. When looking at the history of the band, they were part of the original Italian prog movement, and their records in this style spanned only 6 to 7 years. Which for a typical Italian prog band is a lifetime of records, but from a chronological standpoint, it's a very small period of time. Then "Banco" became a pop band throughout the 80s. They returned to participate in the 90s progressive rock renaissance, but mainly as a live act mostly recreating the past. As for new music, nothing special ever surfaced. Their highest rated albums are simply new recordings of past compositions.

Until now. Transiberiana has all the earmarks of the past, including the depth of composition, the talent of the musicians, and those oh-so-critical turn-on-a-dime musical breaks. This is the music of 1973 Banco del Mutuo Succorso moved up 46 years. It sounds every bit like an album from 2019, and the new members bring many contemporary influences to the table. It's up to Nocenzi to school the others on what it's like to be a part of the legacy that is Banco del Mutuo Succorso. And he's done a great job at that, and one gets the sense the band could continue in this vein for many years - evolving the brand as it were. Is this the best Banco album? No. It would be nigh impossible to beat their trio of original albums, perhaps the greatest 3 album run in history. And Come in un'Ultima Cena is another tough one to top. But their best album in the last 42 years? Yes, most assuredly it is!

---7/16/20

Garofano Rosso (1976)

The odd album out in the Banco del Mutuo Soccorso canon, though they were to repeat it again on Di Terra. That is, this is Banco without vocals! Francesco di Giacomo is such an integral part of the band, it doesn't seem possible to hear the music without him. And he's still a member, being credited here with "documentazione". The music (a soundtrack to an Italian TV series) is still patently Banco DMS, though they're changing with the times and adding more jazzy elements to their sound. The Nocenzi brothers continue to lead the band with their organs, pianos, and synthesizers ripping away. You'll hear some familiar themes from past albums as well. The music isn't as edgy or as epic as their earlier efforts, but taken on its own account, Garofano Rosso is a fine listen.

---12/26/21

Come in un'Ultima Cena (1976)

Banco del Mutuo Succorso started their career with what many consider the greatest 3 album run in all of Italy, and one could argue for progressive rock in general, competing mightily against the likes of Genesis and Yes. Then silence. 1974 blew by, and 1975 saw only the requisite might-break-in-the-States-probably-not English language album, that featured unique arrangements, but a bit watered down from the massive beasts they opened with. By 1976, Banco confusingly released an all instrumental soundtrack album, that has little to do with their namesake. And finally we get to Come in un'Ultima Cena, their true followup to Io Sono Nato Libero. Since still signed with Manticore, the band were obligated to do a co-release in English (As in a Last Supper). Nevertheless, that version didn't see an English language country release (until 2010!), having been dumped into Germany as an afterthought. And so this was the last hurrah for the classic Banco del Mutuo Succorso as we knew them. They had one more fantastic instrumental album left in them (Di Terra) and off the pop cliff they went, only to return during the prog revival years. But they were broken.

This premise leads to the album itself. It's important to understand the background from which Banco entered into this recording. And let's not forget the 1976 landscape in general, where progressive rock in Italy were in their last throes of survival. And that provides the story here. This is Banco neutered and ready for a domiciled life. No more hunting in the wilds for their food. Once that premise has been accepted, then the album can now enter your stereo for a proper listen. It's the name Banco del Mutuo Succorso that usually holds this album back. But a careful listen on its own, demonstrates the same intense progressive rock composition style. Di Giacomo is also in fine form here, perhaps a bit more strained than prior. But the edge of the instrumentation is gone, along with the youthful exuberance. It's progressive rock by professionals. Which means, it's an excellent album throughout. And yet, you know they can do better. My rating reflects more an objective viewpoint in this case, rather than my usual subjectivity. I owe them that.

---3/4/17

Io Sono Nato Libero (1973)

After two remarkable albums to start their career, could Banco del Mutuo Succorso maintain the momentum for a 3rd? The answer is a resounding YES. The sextet possessed so much talent, in both instrumentation and composition, it seemed that their imagination was endless. But the heroes of the band remain the Nocenzi brothers, who bring an arsenal of vintage keyboards, along with the latest in synthesizer technology. They play off each other as only two brothers could - each knowing what the other is thinking before they think it themselves. If I had to pick just one song from Banco's canon, it would be Io Sono Nato Libero's opener 'Canto Nomade per un Prigioniero Politico' which packs a wallop, and goes in dozens of different directions. Giacomo's powerful operatic voice sends the message home, that yes, we are born free! To take this even further, when someone asks me to play one representative of Italian prog, this is the track I pull out. The album doesn't stop there, as Banco mixes melody, complex instrumental sections, intense passion, and immense creativity. For my tastes, Io Sono Nato Libero is the best Banco has to offer, and considering the stiff competition, that's quite an achievement.

---8/25/21

Banco del Mutuo Succorso (1972)

The debut album by one of the pillars of the Italian progressive rock movement. As good as advertised, Banco DMS brings out all the elements that made them so stellar: Dual keyboards, heavy guitars, complex rhythms, and the operatic male vocals sung in glorious Italian. Highlights include long time favorites such as 'R.I.P', 'Metamorfosi', and the lengthy 'Il Giardino del Mago'. For my tastes, this comes in second place to the almighty Io Sono Nato Libero. Table stakes for any progressive rock collection.

---1/10/24

Other albums heard: Darwin (1972); Banco (1975); ...di Terra (1978); Canto di Primavera (1979); Capolinea (1980)

7/16/20 (new entry)

TEE, Japan

Progressive rock

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Latest: Total Edge Effect (2022)

Still active and playing live. They state a new album will happen "in a few years".

Tales of Eternal Entities (2016)

The fluidly named TEE this time stands for Tales of Eternal Entities, and this is the Japanese band's 3rd album. I had feared that TEE's involvement with French TV's latest album may have given the group a new found rigidity. Fortunately that is not the case, and TEE return with their distinctly mid to late 70s warm European progressive rock sound. Flute, guitar, and analog sounding synth lines dominate the melodies, while the rhythm section mixes things up often to keep the music from becoming static. As in the past, you'll hear traces of Asia Minor, Solaris, Gotic, and perhaps more pointedly than ever, the godfather of such a sound: Camel. TEE could also be seen as an instrumental parallel band to Spain's L'Herba d'Hameli. 'Epimetheus' is a brilliant opener, and it appeared this album may well in fact be their best work to date. 'Mother Earth' is another standout track. There is nothing less than what I would consider an "excellent" track here. I would offer that Tales of Eternal Entities is a hair off the pace from the prior Trans-European Expression, but all of their albums are outstanding and not to be missed. One of the best albums from 2016 so far for my tastes.

---8/19/16

Trans-Europe Expression (2012)

So it appears TEE is going to be an acronym that remains fluid. For their debut album, they were known as The Earth Explorer. And now it is Trans-Europe Expression. Perhaps The Egg Enema won't be far behind...

Let me take you back 20 years to 1992. At that time, much was made of Änglagård bringing progressive rock back to its original splendor. Their appearance at the first Progressive Rock Festival in 1993 only solidified the legend. And I wholeheartedly agree with all the enthusiasm laid at the feet of this great Swedish band.

However, for myself and a few others, there was another album that had as much impact, but is not as well remembered. Two years prior to Änglagård, a band from Hungary released their second album: The mighty 2 LP opus 1990 by Solaris. It was a jaw dropper, a truly complex progressive rock album, with outstanding keyboards, guitars and flute. Perhaps it's only downfall for the revisionists is its lack of 1970s vintage analog equipment. And while I too would have enjoyed that, it has zero impact on my enjoyment of that amazing album.

Trans-Europe Expression is the second coming of Solaris' 1990!

This is a magnificent work, with some of the most melodic flute and guitar driven progressive rock I've heard in over 20 years. I find music like this irresistible. Love the European hill town photograph artwork as well.

Other albums heard: The Earth Explorer (2009); Total Edge Effect (2022)

---3/13/12

3/13/12 (new entry)

Flowers Must Die, Sweden

Space rock

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Latest: OCH/FMS Split (2023)

Still active, I'm sure they'd be great to see live.

Flowers Must Die 3 (2013)

I was first drawn to this Swedish collective by their most fortunate choice of the group name Flowers Must Die. However, despite this moniker, Flowers Must Die will not likely make you recall Ash Ra Tempel, and especially not the Schwingungen album. Mainly because there isn't some madman screaming "Flowers Must Die - Die! Die! Die! Die! Die!". And there isn't much Krautrock here unless you count a steady rhythm, which recalls an entirely different branch of the genre.

The first two albums came and went before I even had a chance to hear. So we start with the third album, which was described to me as Psychedelic Doom Jazz. I don't hear much doom or jazz to be honest. Flowers Must Die are good old fashioned space rock. Probably the closest comparison would be to My Brother the Wind on their debut, or some of the less edited Oresund Space Collective albums. Their 3rd album is a double LP, and as such, there are long jams driven by electric guitar, that are explored to the last drop. Sometimes, especially on Side 1, the songs drag on long past their shelf life. The addition of guest violin is probably their strongest move, which gives it a whiff of ancient Swedish folk and thus recalls some of the Swedish pioneers such as Algarnas Tradgard and Flasket Brinner. Hawkwind is another obvious influence here. I should be clear, I think Flowers Must Die is a very good group, and I do enjoy this album quite a bit. But I would like to see more compositional quality. A few twists and turns to keep me guessing. I'm sure their music translates better in a live setting.

---2/14/13

2/14/13 (new entry)

Electric Orange ~ Germany

Krautrock

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Latest: Ada (2024)

UMR review page for Electric Orange

9/21/17 (new entry)

Amoeba Split, Spain

Canterbury style; Jazz rock

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Latest: Todos los Animales son Iguales (2024). Best I can tell it's only available on LP and only 100 exist. No CD or Digital. Seems like a lot of work for 100 people (if that)? Oh well, I'm sure it will eventually turn up.

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 six years.

---8/12/16

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

4/24/11 (new entry)