Volcanic Lightnings - Eponym

Bitrate: 320K/s
Year: 2017
Time: 39:45
Size: 91,5 MB
Label: Self Released
Styles: Progressive metal
Art: Front

Tracks Listing:
 1. 7 Sins - 7:05
 2. Fade Away - 6:26
 3. Drop Sea - 5:15
 4. 1001 - 8:08
 5. Open Fire - 5:16
 6. Last Sunrise - 7:31

Volcanic Lightnings is a Progressive Rock/Metal band based in Montreal, Qc, Canada. Influences: Porcupine Tree, Rush, Dream Theater, Tool, Haken.
Eponym is the band's first studio album. Credits: Music and Lyrics by Xavier Alberti, except: Open Fire (Music by X. Alberti, Lyrics by JB Jeangene Vilmer) and 1001 piano intro and outro composed by Steve Murray.
Arrangements by Volcanic Lighthnings.Drums by Martin Plante; Bass by Richard Paquet; Keyboards by Steve Murray ; Guitars and Vocals by Xavier Alberti.
Engineering, mixing and mastering by Richard Paquet.
Album artwork and design by Genevieve Renaud. Original photo (volcano) on the artwork by Martin Rietze.

Eponym

Alan Case - Dark Matter

Bitrate: 320K/s
Year: 1999
Time: 73:14
Size: 168,1 MB
Label: Bee & Bee Records
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. I Wonder Why -  4:38
 2. Mindless -  3:04
 3. I Don't Need A Lover -  6:23
 4. The Borderline -  3:09
 5. Dark Nights -  3:59
 6. All About You -  2:37
 7. Mistake Of A Lifetime -  4:59
 8. Nighteye -  4:07
 9. Fast Asleep - 11:15
10. Crawl Out Of These Mountains -  5:07
11. Make It Happen -  4:38
12. Innocent Eyes -  4:32
13. Celebrate Your Life -  4:08
14. The Hurting -  2:03
15. Wide Awake -  5:22
16. Het Nieuwe Land -  3:06

Dutch musician Ernst van de Kerkhof, born in 1964, was involved is several projects since the late-80's under the guidance of guitarist Eddy Bopp, member of the Hard Rock band Vandale.They formed together the short-lived group Mystix, that split up in 1992, and the next year van de Kerkhof participated in the Eurovision contest, representing Holland.1995 sees him in the line-up of Dilemma, recording the ''Imbroccata'' album, then a couple of years later he released his solo work ''Wide awake'', surprisingly offered by the Japanese label Avalon.Two years later the same album was re-released with three bonus tracks under the title ''The dark matter'', featuring Bopp, Mystix'es singer Debby Nagi and several other guest musicians.
I admit that the first listening led to the false results of a mediocre album, because after several spin ''The dark matter'' prooves to be a really superb album with excellent songwriting and series of impressive, beautiful melodies.Basically the style is a mix of AOR and Neo Prog with a few ballads thrown in for good measure, but the most surprising fact is that I can find a striking weak moment in this album, despite the obvious commercial vibes.Several tracks could easily end up in a BOSTON or TOTO album, being delicate, melodic and pompous AOR compositions, but even these have something to offer: a Classical-inspired interlude, a great acoustic crescendo or simply an outstanding chorus full of emotion.Other tracks are closer to the sound of PALLAS, TRISTAN PARK or even GENESIS, led by full-blown synthesizers, melodic guitar lines, a few symphonic vibrations and tremendous vocal parts, placed mainly in the second half of the CD, like the great ''Nighteye'' or the long and melodic ''Fast asleep'' with the PENDRAGON-influenced bombastic keyboards.The few ballads appearing here and there are absolutely great, far from the cheesy songs offered by other bands, featuring sensitive vocals, multi-vocal lines and dreamy arrangements.
Since the release of this album, the traces of this man have been unfortunately lost and it seems this album will be his sole document that has been left behind.But do yourself a favor and track this down, because it is one of the greatest examples of well-crafted, accesible but also highly artistic Progressive/Symphonic/Pop Rock.Highly recommended.

Dark Matter

Guitar Crusher - Googa Mooga

Bitrate: 320K/s
Year: 1993
Time: 46:49
Size: 108,1 MB
Label: Blue Sting
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Mama's Baby - 3:50
 2. I Wanna Go Outside in the Rain - 4:33
 3. Play Me Some Music DJ - 3:56
 4. I'm Gonna Wait - 3:08
 5. Hold on to What I've Got - 5:33
 6. Don't Stop - 3:20
 7. I'm the Great Googa Mooga - 5:22
 8. Watch Dog - 2:59
 9. Mama, You're Alright - 4:21
10. Nobody Knows How You Soothe Me - 2:53
11. Bone Crushing Man - 3:23
12. Soul Food - 3:26

Guitar Crusher arrived in Berlin at the end of 82 along with Nick Katzman, who inaugurated the Cottonwood club in what was West Berlin. At that time I met them, the unmistakable voice of Guitar Crusher leading the band "The Midnite Rockers" was everywhere .. Although he had come to Europe to begin a new career, Crusher soon discovered that even in this new environment also existed conflicts and friction among group members. The stage prior to their arrival had been the '70s, a time when the madness "disco" had left many Rhythm and Blues musicians jobless. Crusher was one of them, and worked in a cloth factory to meet Nick Katzman in 1976, when it rejoined the "Midnite Rockers" (the name of the old band of Crusher).
In 1992, Crusher and Nick Katzman, along with his old friend Wild Jimmy Spruill recorded an excellent CD titled "Googa Mooga". Guitar Crusher also has worked on numerous recordings at European level.

Googa Mooga

Tsuki Usagi - Tsuki Usagi

Bitrate: 320K/s
Year: 2011
Time: 52:41
Size: 120,8 MB
Label: Musea
Styles: Progressive Rock/Neo Prog
Art: Front

Tracks Listing:
 1. Unforgettable Eyes -  9:30
 2. A Song For The Moon -  6:14
 3. Shadow In The Mirror Part 1 -  8:29
 4. Shadow In The Mirror Part 2 -  8:14
 5. The Memory Of Windy -  6:16
 6. Message - Anata eno Dengon - 13:56

Musicians:
Tsunehiro Murakami - guitars;
Tatsuya "Brick" Kobayashi - bass;
Jun Nagamori - keyboards;
Reina - voices, flute;
Tadashi Tsushimi - drums.

TSUKI-USAGI got started as a five-piece (later six-piece) rock project in early 2000s. After a long series of gigs around Tokyo (for about ten years), they finally released their self-titled debut album via Musea Records (France) / Poseidon Records (Japan) upon March 10, 2011.

Tsuki Usagi

Slammin' Gladys - Slammin' Gladys

Bitrate: 320K/s
Year: 1992
Time: 43:49
Size: 101,4 MB
Label: Priority Records
Styles: Funk Metal, Glam, Hard Rock
Art: Front+ Back

Tracks Listing:
 1. Bad Attitude - 2:40
 2. Bet Your Life - 3:20
 3. Down On Your Knees - 4:33
 4. Lay Me Down (in the roses) - 3:42
 5. Piece of my Heart - 5:31
 6. Push - 3:12
 7. Love Is My Drug - 3:49
 8. What U Need - 5:32
 9. Where Were U - 3:10
10. Cum - 4:19
11. Slicone Sally - 3:56

Voila un album qui est sorti un peu apres la bataille. Nous sommes en 1992 et sur le plan commercial, le hard US est en perte de vitesse. C'est a cette periode-la que Slammin' Gladys, nouveau venu dans le hard-rock americain, sort son premier(et unique) album eponyme.
Musicalement causant, Slammin' Gladys pratique un big-rock avec en prime de tres forts relents funkys. Si ce quartette ne revolutionne pas le hard-rock, il fait toutefois preuve d'une admirable maitrise au niveau des compos et les musiciens ont suffisamment de savoir-faire pour convaincre les amateurs du style. Celui qui impressionne le plus est peut-etre le chanteur Brooks qui a un coffre vocal a couper le souffle.
L'album demarre de maniere eclatante avec "Bad attitude", un titre big-rock au parfun funkysant plein de punch et de vitalite qu'on pourrait assimiler a du Mr. Big survolte. Le titre suivant "Be your life" accentue encore plus le cote funky et la basse est davantage mise en avant, le ton festif lui apportant par ailleurs un plus considerable. La suite de cet opus, c'est du tres bon. "Lay me down(in the roses)" avec ses choeurs feminins et son final tonitruant; "Love is my drug"(peut-etre le meilleur titre de l'album) voit les guitares se mettre en retrait par rapport a la basse, omnipresente et entetante, et les choeurs soutenir la voix de Brooks efficacement; le survitamine "Where were U" avec son extraordinaire et enorme refrain; "Cum", renforce par des cuivres de circonstance, sont la pour en temoigner.
La bonne surprise de cet album, c'est la presence d'une excellente reprise de Janis Joplin: "Piece of my heart". Le chanteur Brooks donne vraiment le meilleur de lui-meme et on a la un tres bon apercu de son etendue vocale.
Les albums de hard-rock comprenant, pour la plupart, une ou plusieurs ballades; celui de Slammin' Gladys ne fait pas exception a la regle. 3 ballades sont presentes. "Down on your knees", dans le genre, est plutot correct, "Silicone Sally" est la mieux reussie des 3 ballades: ce titre acoustique aux accents bluesy est renforce par un saxophone qui lui donne une ambiance cabaret fort sympathique. En revanche, "What U need" est moins reussi et semble meubler plutot qu'autre chose.
C'est un bien bel album qu'a produit la Slammin' Gladys. Ce fut aussi pour moi une agreable decouverte et, puisque cet opus fut accueilli dans l'indifference ou presque, j'en profite pour le ressortir des cartons; d'autant que la pochette est plutot chouette. Par la suite, Slammin' Gladys a totalement disparu de la circulation.

Slammin' Gladys

Wrecking Crew - Fun In The Doghouse

Bitrate: 320K/s
Year: 1992
Time: 50:02
Size: 114,9 MB
Label: Trafalgar Records
Styles: Hard Rock
Art: Full

Tracks Listing:
 1. Welcome To The Circus - 5:04
 2. 10c Lovin' - 5:14
 3. Stay - 3:42
 4. Sister Mercy - 3:48
 5. She Wants Love - 3:30
 6. Do What You Do - 4:40
 7. Midnight - 3:20
 8. Going Down - 5:43
 9. Haunted - 5:39
10. Outta Love - 4:27
11. Soul Train - 4:50

Hard to find nowdays album from this Aussie pub rock band of the 90’s released in 1993 from Trafalgar Records. “Fun in the Doghouse” is the band’s only work with some great b-sides on their singles. The album produced by Kevin Shirley a well kknown music producer and mixer for many artists such as the bands Journey, Iron Maiden, Rush, Led Zeppelin, Joe Bonamassa, Dream Theater, HIM, Mr. Big and Europe. Excellent song writing and guitar parts blend with some funky parts that worth the search. With the end of the band the original member formed the band “Utopian Babies”.

Fun In The Doghouse

Shane Gentry and the Nekkid Monday Band - Shane Gentry and the Nekkid Monday Band

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The Tragically Hip - Fully Completely

Bitrate: 320K/s
Year: 1992
Time: 46:45
Size: 107,3 MB
Label: MCA
Styles: Rock
Art: Front

Tracks Listing:
 1. Courage (for Hugh MacLennan) - 4:27
 2. Looking for a Place to Happen - 4:17
 3. At the Hundredth Meridian - 3:20
 4. Pigeon Camera - 4:33
 5. Lionized - 3:20
 6. Locked in the Trunk of a Car - 4:41
 7. We'll Go, Too - 3:23
 8. Fully Completely - 3:30
 9. Fifty Mission Cap - 4:10
10. Wheat Kings - 4:17
11. The Wherewithal - 2:54
12. Eldorado - 3:45

With Fully Completely, The Hip took their gritty blues influenced rock sound that had them placed among the top of the Canadian music scene and elaborated, creating a more atmospheric, art rock feel along side with their traditional roots. With albums like ‘Up To Here’ and ‘Road Apples’ to their name, The Tragically Hip were one of the bigger names in Canada, yet received little attention outside. Often regarded as one of, if not their finest, most encompassing album, Fully Completely is an essential, symbolic record with more than half of the album still getting regular play on the air today.
Produced by Chris Tsangarides (who’s worked with Depeche Mode, Killing Joke), Fully Completely showcases the band at its best. Gord Downie and crew have all improved significantly on their already impressive assets with Downie’s lyrics still having that close to home feel. As mentioned, Fully Completely is somewhat different from their first two albums. Not necessarily in the sense of song writing or overall sound drastically, but takes a more melodious, mid tempo, but steady tone for much of it]. But of course there is the driving, upbeat tunes as well. Although many of the tracks (namely Courage, Fifty-Mission Cap Wheat Kings) can be identified by those not even owning the record, the album never gets tired and despite the popular songs, sounds vivid with listen.
The Hip’s lyrics are one of their strongest attributes. Downie’s knowledge of history, love of hockey and art, his poetic abilities and observational, abstract lyrics all come into effect on ‘Fully Completely’. Fifty-Mission Cap tells the true story of Bill Barilko; defensemen for the Toronto Maple Leafs who scored the winning goal in the 1951 Stanley Cup Playoffs only to vanish that summer on a fishing trip. His body remained missing until 1962, the next time the Leafs won the cup. Wheat Kings references the story about David Milgaard who was wrongly sentenced to life in prison at the age of 16 in 1970. Pigeon Camera is literally about cameras that were put on pigeons as a form of aerial observation during World War One. Locked in the Trunk of a Car is a frantic, intense song both musically and lyrically, written from the point of view of a serial killer with lyrics like “Then, I found a place its dark and it's rotted; It's a cool, sweet kinda-place where the copters won't spot it and I destroyed the map, I even thought I forgot it, however, every day I'm dumping the body”. And starting the record is a great tribute to the Canadian author Hugh MacLennan in Courage.
‘Fully Completely’ has all the elements required for a full grade is one of the best albums of the 90’s that is not only an excellent representative of the band but an essential album within the genre. Mixing different styles like the sleek, driving rock sound to acoustic to alt rock and pop, The Hip really reached their peak with this record and would only build on it with 1994’s ‘Day for Night’. And though this might never get the attention it deserves south of the border and the lyrics may not be entirely relatable to non-Canucks, this album can be appreciated by any fan of rock.

Fully Completely

Medea - Northern Light

Bitrate: 320K/s
Year: 2017
Time: 68:54
Size: 157,9 MB
Label: Snakebite Records
Styles: Progressive Rock/Heavy Prog
Art: Full

Tracks Listing:
 1. Aurora Overture -  4:30
 2. The Oldest Lake -  4:16
 3. Wise Man's Invitation -  4:16
 4. A Bottled Light -  5:52
 5. Souls of a Kind -  6:40
 6. Glass Mountain -  4:39
 7. Eternally Young -  6:11
 8. Moonless Sky -  4:34
 9. War of a Lost Child -  7:07
10. Confrontation: i) Reflection, ii) Who Will Believe? iii) Failure Of The Quest... - 11:17
11. Turn to Me -  3:36
12. Northern Light -  5:51

A 'rock opera', Northern Light is similar in style and tone to a good many Dutch symphonic metal acts and more specifically the ambitious concepts of Arjen Lucassen and the musicals of Clive Nolan. Meeuws is responsible for all lead instruments including guitars, keyboards, piano and orchestrations, assisted by Igor Koopmans on drums and Frank de Groot on bass.

Northern Light

Jeff Fetterman - 9 Miles To Nowhere

Bitrate: 320K/s
Year: 2017
Time: 44:38
Size: 102,4 MB
Label: Green Tea
Styles: Blues/Rockin Blues
Art: Front

Tracks Listing:
 1. Somebody Get Me a Doctor - 4:24
 2. Something Just Ain't Right - 3:25
 3. Devil Knockin' at My Door - 4:48
 4. Brand New Day - 6:24
 5. Lover Man - 4:32
 6. Goodbye John Brown - 2:28
 7. Broken Hearted - 6:16
 8. Early Grave - 3:57
 9. Bad Feeling - 3:22
10. These Arms of Mine - 4:59

Pennsylvania based, blues rocker Jeff Fetterman, has added another stellar album to his catalog. 9 Miles to Nowhere was released August, 16th on Fetterman’s own Green Tea Music label. An impressive follow-up to Bottle Full of Blues, this latest offering renewed our faith about blues in rock n roll.
Kenny Wayne Shepherd, Stevie Ray Vaughan, Mato Nanji, Chris Duarte, and myriad others have left an indelible mark on Fetterman’s style. He comes out swinging, no-holds-barred, like a prize fighter looking for that 10th round knock out.
“Somebody Get Me a Doctor,” leads off with some Hendrix influenced guitar work. Fetterman’s voice, like two truckloads of gravel, comes in as strong as we’ve ever heard. Make no mistake. Jeff is no newcomer to the game. The man is a seasoned vet, who writes, produces, and plays his own original music. The sound may be familiar, but the stories are fresh, and come from his own life.
The usual suspects are all present. Fetterman (lead guitar, vocals), is once again joined by clock master John McGuire (drums), uber-funky Ralph Reitinger III (bass), and harmony mistress Judy Kessler (vocals, percussion). There is a new addition to the group as well. Eric Brewer has joined Team Fetterman on second guitar, adding some super cool riffs and additional depth.
On “Something Just Ain’t Right,” the guitar harmonies have a Southern rock feel that took us back to the days of the Outlaws, and early Allman Bros. “Devil Knockin’ at My Door” opens with a haunting, loosely performed, jam sound before McGuire starts the clock. After that, the electrified, 12-bar tune takes us on a ride through various Delta blues exponents. Ol’ Scratch, freight trains, and a woman’s saving grace have been principal topics since the blues began. It’s good to know that they’re still remembered, and touted in these times.
Fetterman’s guitar skills are on prime display on “Brand New Day.” Once again, the addition of a second guitar a la Brewer, adds surprising depth. These guys don’t just run the scales, they play with soul. “Lover Man” kicks in with some prime, Texas-flavored, double shuffle sure to pack any dance floor within miles of the stage. More Texas tang hit us square in the earholes on “Goodbye John Brown.” More importantly, this song is a cautionary tale. NEVER laugh at a man who just received a “Dear John” letter.
Not all of Fetterman’s influences were rock and rollers. B.B. King held huge sway over the Pennsylvanian. Nowhere, or 9 miles to it, is that more evident than on “Broken Hearted.” The jazzy, slow-burn accompaniment is punctuated by Fetterman’s vocals like a rasp across maple. King’s voice took decades to reach that resonance. Jeff’s is there right now.
The atmosphere picks right back up on “Early Grave.” It’s another musical warning, provided by a group that is tighter than a hangman’s knot. “Bad Feeling” is true rock n roll from the old school. A modern version of something we may have heard coming from the Sun Studios in the 50s, it’s sure to be another dance hall favorite.
9 Miles to Nowhere concludes with “These Arms of Mine.” No, it’s not a cover of the Otis Redding classic. It’s a very soulful, bluesy original that took us completely by surprise. With the tempo of a stroll, it hit the mark as our personal favorite.
Fetterman recently won a place in Memphis, to compete in the International Blues Challenge in 2018. If you haven’t had the opportunity to see the band live, that would be a great starting point. In the meantime, pick up a copy of 9 Miles to Nowhere and play it loud. Consider it pre-gaming.

9 Miles To Nowhere

Lucifer Was - Morning Star

Bitrate: 320K/s
Year: 2017
Time: 45:09
Size: 103,7 MB
Label: Record Heaven/Transubstans Records
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. As It Comes -  5:38
 2. A Forest Of Zaqqum Trees -  3:52
 3. Tube Music -  4:53
 4. Cold Up Here In The North -  4:24
 5. Sea Of Sleep -  4:49
 6. Sunday Morning Griever -  6:05
 7. Pure - 15:25

Musicians:
Jon Ruder - Lead vocals
Thore Engen - Lead guitar, acoustic guitars, zither, vocals
Dag Stenseng - Flute, vocals
Anders Sevaldson - Flute
Einar Bruu - Bass
Kai Frilseth - Drums, percussion
Arild Broter (Pymlico) - Drums, percussion
Andreas Sjo - Engen Guitar, cigar-box slide guitar, vocals
Arne Martinussen - Organ, piano, Mellotron, harpsichord

The new Lucifer Was album, Morning Star, marks twenty years since the release of Underground And Beyond in 1997, and also celebrates twenty great years together for Lucifer Was and Record Heaven/Transubstans Records.
For the occasion, the complete original 1972 line-up that recorded Underground And Beyond and the follow-up, In Anadi’s Bower, is featured throughout, in addition to the present version of the band. Morning Star contains seven tracks and includes stand-outs like the hard energy blaster, A Forest Of Zaqqum Trees, Sunday Morning Griever, which shows Thore Engen’s genius as a songwriter and lyricist, and the 15:25 long heavy/prog/blues/psych/space-masterpiece Pure, co-written by Engen and singer Jon Ruder. This piece also has a distinct Nordic feel to it. The two-drummer attack is very present on this colossus of a composition!
One special feature is Sea Of Sleep, the only ever co-written track by Engen and flautist/singer Dag Stenseng. A more rudimentary version of this song was a staple in the band’s 1972-1974 live repertoire.
The title Morning Star is synonymous with “The Bringer Of Light a.k.a. Lucifer” and can be seen shining strongest of all in the firmament. It is the planet Venus. The album is available on CD and high quality Vinyl with a beautiful fold-out cover. A limited blue vinyl edition will be available from the date of release, November 24th .

Morning Star

Panzerballett - X-Mas Death Jazz

Bitrate: 320K/s
Year: 2017
Time: 69:25
Size: 160,2 MB
Label: Gentle Art Of Music
Styles: Progressive Rock/Jazz Rock/Fusion
Art: Front+Back

Tracks Listing:
 1. White Christmas - 5:33
 2. Kling, Glockchen - 6:46
 3. Little Drummer Boy - 5:58
 4. Es Kommt Bald - 5:45
 5. Last Christmas - 7:00
 6. Rudolph, The Red-Nosed Reindeer - 5:17
 7. For Whom The Jingle Bells Toll - 5:48
 8. Let It Snow - 5:21
 9. White Christmas (Bonus: Instrumental Versions) - 5:32
10. Rudolph, The Red-Nosed Reindeer (Bonus: Instrumental Versions) - 5:15
11. Es Kommt Bald (Bonus: Instrumental Versions) - 5:45
12. Let It Snow (Bonus: Instrumental Versions) - 5:19

Musicians:
Jan Zehrfeld - guitar;
Joe Doblhofer - guitar;
Alexander von Hagke - saxophone;
Heiko Jung - bass;
Sebastian Lanser - drums.

Munich, Germany’s quintet PANZERBALLET is a “Progressive Funky Math Jazz” Metal band, formed in 2004. The have previously release five albums, and “X-Mas Death Jazz” is a seasonal celebration of many of the Christmas tunes most of us are familiar with. I have to admit that I was no prepared for what would follow. When it comes to opening song “White Christmas,” the vocals follow the original song for the most part, but the instruments underneath are an amalgam of various meters and chord progressions that are a highly technical display of Jazzy Metal that are warm and inviting at times, and sterile and dark at others, but purposely disconnected from the vocals. “Kling, Glockchen” means “Ring, Little Bell” in English, and is a German Christmas carol from the 19th century. Saxophone leads the sound for the most part, but sexy lead guitar passages abound as well, showcasing some very talented axe work.
“Little Drummer Boy” is an instrumental that Djents, heavy with accents at times and free flowing legato passages at other times. Again, it’s a very loose and personal interpretation of the original song that definitely strays off the path. Extended instrumental passages are where you can really hear the band members’ synergy with each other. I’m not sure what “Es kommt Bald” means, but it is not a familiar “Christmas carol sound. Some of the vocals are angry; lashing out at you, and then soothing passages of bass and guitar follow. One thing is for sure, the musicianship here is quite impressive. “Last Christmas” is led by pacifying saxophone and clean guitar notes that are playful. Their sense of timing and rhythmic changes are unorthodox, as are the chord progressions. I feel like you need a high musical aptitude to really connect with the music, or at the very least, and open mind.
“Rudolph, The Red Nosed Reindeer (Vocals)” is another provocative take on the original. It’s a much darker sound, exploring perhaps the negative message of the story where Santa admonishes him for his “deformity.” “For Whom the Jingle Bells Toll” has that familiar jovial melody of the song “Jingle Bells,” which has always been a staple for celebration of the season. I lost track of the various meters used in presenting the melody; it’s fun to listen to but I would not advise trying to dissect the rhythms into discernable time passages. In many ways however this instrumental might be my favorite song on the album. “Let it Snow (Vocals)” is similar to the first track in how the vocal melody follows the original fairly well, while the instruments are mixing together in a flurry of skilled elements that are all over the space and time continuum. It is also very evident that these guys have a lot of fun and joy to spread as a band and love doing what they do.
“White Christmas (Instrumental)” is a Progressive mash of technical wizardry combined with extensions of the original melodies that are almost like squared or cubed numbers that replicate faster than you can comprehend. Maybe because they are country-mates, but some of their work here reminds of another very special German band called YSMA. The instrumental version of “Rudolph” is perhaps even more curious and eccentric than the version with vocals. Like the vocal version, it has a darkness and is shrouded in mystery in terms of the twists and turns along the way. The path seems circuitous, but if you keep your musical wits about you, you can follow a linear direction. “Let it Snow (Instrumental)” uses lead guitar and sax on the main melody, while the other instruments dance intertwined in a cacophony that is somehow accessible at the same time. You really need to follow the bass lines of Hieko Jung as well, because they are fascinating.
Without a doubt, this is the most intriguing album I have heard this year. On musicianship and application of music theory alone, it is an undeniable winner. I’m not sure you will ever hear such personal translations of holiday music pulsing with so much of the bands charisma and temperament. The common thread that is woven throughout the album is how well they work as a unit, as well as the fun you can hear that they put into these compositions. Will the eclectic work appeal to a wide audience is really the question here, but it did to me, and if you are looking for something out of the ordinary, here it is.

X - Mas Death Jazz

Arilyn - Eraser

Bitrate: 320K/s
Year: 2017
Time: 59:13
Size: 135,9 MB
Label: QuiXote Music
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Eraser - 6:03
 2. The Temple - 3:15
 3. Resist - 5:40
 4. Coming Back To Life - 6:15
 5. Sadness - 6:28
 6. Special - 3:43
 7. The Last Of Us - 6:58
 8. Shattered Pieces - 6:47
 9. Moon - 5:54
10. Jungle - 4:00
11. With Love - 4:04

Arilyn from Ludwigshafen present their sixth album titled "Eraser". Cleverly, they connect hard rock guitars with electronic elements and thus achieve a sound that is familiar from bands like Archive. They continue to be loyal to their typical signature, refrains with a high recognition value. This album is a reference tip for those who feel at home in the genres Adult Rock, Progressive Rock or Metal.
The new album Eraser will be released at the 24th of November.

Eraser

Karfagen - Messages from Afar: First Contact

Bitrate: 320K/s
Year: 2017
Time: 56:14
Size: 128,9 MB
Label: Caerllysi Music
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
 1. First Contact -  7:14
 2. Foreign Land -  7:22
 3. Curious Talk -  3:30
 4. Volcano Rabbit & The Frog -  5:32
 5. Faces In The Clouds -  3:07
 6. Vale Of Dreams -  8:33
 7. Golden Fields Of Rye -  2:14
 8. Riding On A Rainbow -  2:53
 9. Constant Flow - 15:45

Musicians:
Antony Kalugin - keys, vocals;
Max Velychko - guitars;
Kostya Shepelenko - drums;
Oleg Prokhorov - bass;
Michail Sidorenko - sax;
Olha Rostovska - keys, vocals.

«Messages from Afar» is a special concept album, that`s divided into 2 chapters – 1st by Karfagen and 2nd by Sunchild (part 2 to follow in 2018).       
It`s band's hommage to the Art Rock as we know it from the heart of  the 20th  century. The main difference between the 2 albums as usual Karfagen is primarily instrumental work whilst Sunchild is song oriented.         

Messages from Afar: First Contact

Melange - Melange

Bitrate: 320K/s
Year: 2016
Time: 68:08
Size: 162,1 MB
Label: Discos Tere
Styles: Progressive rock
Art: Front

Tracks Listing:
 1. La cosecha - 3:52
 2. Solera - 6:44
 3. Conan - 2:51
 4. Saquesufah - 2:33
 5. Verdiales del encuentro - 3:37
 6. Viaje a Cenera - 3:11
 7. Los Ojos Negros (bulerias de Dusseldorf) - 4:26
 8. 08. Melange - Beti Jai (capricho sefardi).mp3 -   
 9. Nuevos ritos - 6:20
10. Despertar - 4:37
11. In the hands of time - 3:49
12. Las dunas de Diabat - 4:49
13. Las olas del mar - 6:22
14. La montana - 6:50
15. Triptico de Tobala - 8:02

Melange es un quinteto formado en Madrid a finales de 2014. Se mueven en un estilo que respira entre la psicodelia, la musica experimental y el folk, entre otros. Editan su primer disco “Melange” en vinilo auto-editado con su sello “Discos Tere” en formato doble LP en Abril de 2016.
En noviembre de 2017 sale a la luz "Viento Bravo" (Discos Tere/Beyond Beyond is Beyond Records)   less
Avance del doble LP de debut Melange que se publicara en marzo de 2016 por Discos Tere.
Grabado, mezclado y producido en Producciones Peligrosas (Los Tablones, Alpujarra Granadina), con Carlos Diaz y Jose A. Sanchez, y en Fantom Power (Madrid) con Enrique Borrajeros entre agosto y noviembre de 2015. Masterizado por Pablo Sanchez en Producciones Peligrosas.
Todas las canciones compuestas e interpretadas por Melange.

Melange

Orion - Le Survivant

Bitrate: 320K/s
Year: 2017
Time: 45:25
Size: 104,5 MB
Label: Musea FGBG 4981
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
 1. Big Bang - 8:38
 2. Cumulostratus - 4:17
 3. Peur Du Vide - 6:32
 4. Les Ravageurs - 3:38
 5. Mere Nature - 3:47
 6. La Planete des Fous - 4:28
 7. Le Dernier Arbre - 6:30
 8. Le Survivant - 7:35

Musicians:
Patrick Wyrembski - acoustic guitar, vocals, composition;
Janusz Tokarz - vocals, keyboards, composition;
Michel Taran - keyboards, vocals, composition;
Alain Pierre - synth guitars, vocals, composition;

Guest musicians:
Pierre-Jean Horville - guitars, composition;
Paul Cribaillet - piano;
Eric Halter - bass guitar, double-bass;
Cédric Affre - drums;
Emmanuel Della Torre - vocals.

Le groupe progressif français Orion publie « le Survivant » après le concept album « La Face Visible » en août 2015 (http://progcritique.com/2015/08/orion-la-face-visible/). La ressemblance entre les deux albums est sensible, mais « Le Survivant » est beaucoup plus éclatant et donne une image plus exacte de ce qu’est la musique du groupe. Les compositions sont plus concises, plus directes, peut-être moins progressives que par le passé, mais gagnent en finesse et en intensité. « le Survivant » est lui aussi un album concept qui aborde les sujets d’une actualité brûlante, qui nous concernent tous et dont nous sommes malheureusement les acteurs principaux, concernant la pollution, le réchauffement climatique, des lobbies qui mènent le monde et des intérêts économiques qui prédominent.
Orion nous rappelle d’ailleurs que Leur combat ne date pas d’aujourd’hui puisque leur premier album  « La Nature vit l’homme lui critique… réalisé il y a une quarantaine d’années parlait déjà d’écologie et de pollutions en tous genres. »
Le premier morceau « Big Bang » , qui évoque l’origine de notre Planète, est une composition de plus de 8 minutes qui profite de claviers discrets et de guitares élégantes, elle propose un luxuriant kaléidoscope musical, un rock progressif qui transcrit à merveille notre parcours depuis les origines. Un climat musical paisible pointe son nez dès les premières notes de « Cumulostratus » , l’instrumental de l’opus, empreint de légèreté, de justesse, une ambiance jazzy pour une juxtaposition d’atmosphères aux couleurs du temps. Des Rythmes fluides sur une mélodie limpide, « Peur Du Vide » se fait terriblement efficace et incisif, avec au niveau du texte une dénonciation de la déshumanisation et de l’abêtissement de notre monde. Terrible mais juste constat que fait Orion avec les paroles de « Les Ravageurs », une apologie de notre système capitaliste sans foi ni loi, une composition plus ramassée et directe sous un format rock. On se laisse embarquer par les mots et l’authenticité musicale de « Mère Nature » tout en dépouillement, une mélodie rythmée par le récit narratif, le tout superbement mis en valeur par des musiciens parfaitement intégrés et inspirés. Des riffs et soli encore plus tranchants que jamais de la part des guitaristes, pour « La Planète Des Fous » qui déroule l’histoire de nos problèmes de société (pollution, nucléaire, religions….) dans une ambiance (réussie) planante à la Floyd, Mon coup de cœur de ce concept, « Le Dernier Arbre » un titre qui brille par son aspect hybride et séduit parce qu’il dépasse le cadre bien souvent restrictif du rock progressif, car il brasse avec avantage harmonies vocales évanescentes, couches de piano  discrètes et un mélange incroyable d’accords fusionnelles, le tout enchevêtré dans une véritable mélodie à tiroirs, en bref une superbe composition. Accords et voix cosmiques pour « Le Survivant » , qui s’avère être pour l’instant, au niveau du texte, de la pure anticipation, mais qui sait où nous mènera la cupidité humaine, on navigue entre un rock plutôt enlevé et des envolées floydiennes, du plus bel effet.
«le Survivant» est  un  régal  pour  les oreilles,  ce nouvel album se savoure du début à la fin sans aucune restriction !

Le Survivant

Orpheus Nine - Transcendental Circus

Bitrate: 320K/s
Year: 2017
Time: 75:05
Size: 172,8 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Of Zygotes and Grace Notes -  1:17
 2. Eightfold Way -  6:46
 3. Fetish -  8:31
 4. Hand of Make-Believe -  5:32
 5. No Illusions -  4:23
 6. Age of Rhyme and Reason -  6:27
 7. Transcendental Circus I: Barcarolle of Bedlam -  5:30
 8. Transcendental Circus II: Hallowed Playground -  4:14
 9. Transcendental Circus III: Intergalactic Clown Festival -  3:00
10. Transcendental Circus IV: Swimming in Our Four O'Clock Tea -  2:51
11. Transcendental Circus V: Not Within the Memory of Elephants -  3:00
12. Transcendental Circus VI: Freak Tent Mausoleum -  2:55
13. Reaper's Carousel -  3:47
14. Sandcastles -  6:00
15. The Fall of the House of Keys - 10:44

Musicians:
Jason Kresge - keys, lead vocals;
Matt Ullestad - guitars;
Tony Renda - bass, vocals;
Mark DeGregory - drums, vocals.

This is a keyboard driven blend of old school prog and AOR.  Repeated listens to the album remind of bands that emphasize the more melodic aspects of prog but don't overlook the more technical side either.  Bands like Saga and Styx come to mind immediately as well as Glass Hammer and perhaps another NJ band Shadow Circus.  The 22 minute epic title piece sees the band stretching out quite a bit and some ELP elements surface to punch you in the gut.
Modern progressive rock with infusions of classical, jazz, metal, and electronic\
Orpheus Nine began as a solo project by Jason Kresge, whose onstage persona inspired one fan to dub him “prog’s Phantom of the Opera.” Envisioning eclectic, keyboard-driven music, Jason created pieces that served up piano, organ, and synthesizer as aggressive lead instruments. After a period of experimentation, he teamed up with drummer Daniel Nydick in 2005, and the two spent a few years further developing their style. The result: modern progressive rock with infusions of classical, jazz, metal, and electronica. By 2011, the duo had expanded to include bassist Tony Renda and guitarist Matt Ullestad. This lineup enjoyed a brief run before scheduling conflicts forced a temporary hiatus. Daniel’s departure led to the 2012 arrival of drummer Mark DeGregory. The New Jersey-based quartet emerges with a sonic treasure in Transcendental Circus. While the album’s centerpiece is its six-part, 22-minute title track, O9 has poured its soul into every song, deftly balancing technical virtuosity with emotion and melody. Early listeners to this “complex and clever” labor of love have cited elements of ELP, King Crimson, Genesis, Rush, Dream Theater, Saga, Frank Zappa, and Yes - yet any past influence quickly gives way to the fresh sound of a band focused on future possibilities.
Orpheus Nine is honored to celebrate the official release of Transcendental Circus with this special NJProghouse performance.

Transcendental Circus

Piirpauke - Kalabalik

Bitrate: 320K/s
Year: 2006
Time: 67:14
Size: 155,1 MB
Label: RockAdillo
Styles: Prog Folk
Art: Full

Tracks Listing:
 1. Navegando (Seilaten) - 6:50
 2. Koyhyys (Poverty) - 5:25
 3. Pa'La Musica - 6:56
 4. Sotkamo Blues - 6:24
 5. Satrpialo - 5:18
 6. Kyla (Vuotti Uutta Kuuta) - 5:27
 7. Kerala - Kerava - Express a) Jai deva - 9:10
 8. Kerala - Kerava - Express b) Piippu Tupakkata Ryyppy Viinaa - 3:58
 9. Kerala - Kerava - Express c) Interlude - 1:04
10. Kerala - Kerava - Express d) Tilu Tallaa - 3:58
11. Beetlehem [Bonus] - 8:11
12. Tule Rakkaus Ihmisrintaan (Welcome, Love In My Heart)[Bonus] - 4:28

Kalabaliikki lähtee Carl Michael Bellmannilta lainatuin sävelin. Muita säveltäjänimiä ovat yhtyeen omat Sakari Kukko ja Samuli Mikkonen, sekä näiden herrasmiesten viime vuosina suosimat klassikot Jean Sibelius ja Franz Schubert. Tradeja on tällä kertaa otettu mm. Georgiasta ja Karjalasta, ja lisäksi Piae Cantiones -sävelmistöstä.
Lähtökohdat ovat siis Piirpauken maailmoja syleilevälle tyylille ominaisesti hyvinkin sekalaiset.
Sama sekalaisuus on määrittämässä tätä Piirpauken historian suurinta kokoonpanoa. Vakiojäsenten eli Kukko, Cinta Hermon ja Ismaila Sanen seuraksi on houkuteltu sekä vanhoja Piirpauke-muusikoita että nuoria lahjakkuuksia.
Badu Ndjai vierailee kitaristina, ja peruskitaristina sooloilee jo 70-luvun lopun kokoonpanosta tuttu Juha Björninen. Nuorta verta edustavat mm. Louhivuoren veljekset sekä basisti Lauri Salokoski. Jätti-Piirpaukessa pianistiksi on Joonas Ahosen tilalle vaihtunut Sakari Kukon jazzkvartetista tuttu Samuli Mikkonen.
Kalabalik on osuva nimi levylle, suomalaisittain voisi puhua sekametelisopasta. Tyylille kuvaavasti yhdeksi sarjaksi on nimetty Intian, Suomen ja jazzinkin energisellä sykkeellä yhdistävä Kerala-Kerava-Express, jossa vielä Piippu tupakkata, ryyppy viinaa lauletaan keitokseen sopivasti espanjaksi. Tilu tallaa puolestaan hyödyntää Konevitsan kirkonkellojen perimää, ja vetää siten osaltaan yhteen Piirpauken 30-vuotista taivalta.
Piirpauke on urallaan kokenut nousuja ja laskuja sekä yleisönsuosion että taiteellisen sisällön suhteen. Nyt yhtyeellä on selkeästi nousukausi meneillään. Uutta virtaa on ehkä tullut Kukon viimeaikaisista jazz-aktiviteeteista, ja aivan varmasti sitä on tullut nuorten soittajien mukaantulosta.
Kalabalikilla soitto kulkee etenkin hyvän lyömäsoitinosaston, napakan sähköbasson ja mainiolla draivilla etenevän pianon turvin. Kukko hallitsee päällisiä tapahtumia, mutta mainioita osuuksia esittävät myös sellisti Roi Ruottinen ja trumpetisti Kalevi Louhivuori. Cinta Hermo sen sijaan on laulajana turhan paljon esillä, sillä hänen suorituksensa jäävät usein värittömiksi.
Bonuksiksi merkityt kaksi kappaletta yhdistelevät erikoisempia lauluratkaisuja. Yllättävä kuoro-Betlehem taipuu remuisaksi svengailuksi, mutta Tule rakkaus ihmisrintaan -kokeilun osat eivät kohtaa tyydyttävästi. Veisaamisen myötä muuten mainio levy kompuroi kalkkiviivoilla.

Kalabalik 

Wet Willie - Left Coast Live

Bitrate: 320K/s
Year: 1977
Time: 64:26
Size: 149,1 MB
Label: Capricorn
Styles: Rock/Southern Rock
Art: Full

Tracks Listing:
 1. Shame Shame Shame -  2:57
 2. Baby Fat -  3:41
 3. Grits Ain't Groceries -  3:21
 4. Everything That 'Cha Do (Will Come Back To You) -  5:47
 5. Teaser -  4:08
 6. Jelly Jelly - 13:00
 7. Country Side Of Life -  3:44
 8. Ring You Up -  5:29
 9. Lucy Was In Trouble - 12:14
10. Keep On Smilin' -  5:49
11. No No No -  4:11

Originally released in 1977, the second live album from these funky, soulful southerners was reissued in 1999 with five extra cuts, adding a whopping 30 minutes to the original vinyl record's limited playing time. With a completely different track listing than 1973's excellent Drippin' Wet, Left Coast Live captures all that was memorable about Wet Willie. They tear through soul standards, like Jimmy Reed's "Shame, Shame, Shame," Little Milton's "Grits Ain't Groceries," and a shimmering 13 minute slow blues version of Billy Eckstein's "Jelly Jelly" (featuring guest guitarist Toy Caldwell on loan from the Marshall Tucker Band), with obvious passion for not only the songs, but for performing them in front of an enthusiastic audience like the one fortunate to be at this 1976 second set at L.A.'s Roxy club. Lead vocal, sax, and harmonica man Jimmy Hall is in solid form as he hoots, hollers, shouts, moans, and blows like the soul men he obviously idolizes and the band, now tightened through almost a decade of playing one night stands, chugs along like a fine tuned engine pumped with high octane gas. Pianist Mike Duke pounds the ivories with religious fervor and guitarist Ricky Hersh plays with barely controlled passion throughout. Featuring touches of gospel on "Ring You Up," Sly Stone styled funk with "Baby Fat," and southern fried R&B on their show stopping 12 minute version of "Lucy Was in Trouble," it's evident how overlooked this group was as one of the most eclectic, soulful, and talented bands to emerge from the glutted '70s southern rock circuit. Oddly the album's least impressive moment is a rote rendition of their biggest hit, "Keep on Smiling," played without the energy injected into the rest of the show. Wet Willie lost the majority of its original members and direction after this final, contract fulfilling Capricorn release, but Left Coast Live remains a compelling and often exhilarating document of a gifted band in their prime.

Left Coast Live

Spock's Beard - Snow Live

Bitrate: 320K/s
Year: 2017
Time: 75:34 + 75:57
Size: 174,2 MB + 174,8 MB
Label: Radiant
Styles: Progressive Rock/Symphonic Prog
Art: Front

Tracks Listing:
CD1
 1. Made Alive - Overture - 5:39
 2. Stranger In A Strange Land - 4:32
 3. Long Time Suffering - 6:05
 4. Welcome To Nyc - 3:26
 5. Love Beyond Words - 3:39
 6. The 39Th Street Blues - 4:10
 7. Devil's Got My Throat - 7:24
 8. Open Wide The Flood Gates - 5:41
 9. Open The Gates Part 2 - 2:57
10. Solitary Soul - 8:30
11. Wind At My Back - 5:35
12. Second Overture - 3:31
13. Th Of July - 3:04
14. I'm The Guy - 4:33
15. Reflection - 2:15
16. Carrie - 4:24

CD2
 1. Looking For Answers -  5:26
 2. Freak Boy -  2:18
 3. All Is Vanity -  4:30
 4. I'm Dying -  5:02
 5. Freak Boy Part 2 -  2:51
 6. Devil's Got My Throat Revisited -  2:06
 7. Snow's Night Out -  2:05
 8. Ladies And Gentlemen, Mister Ryo Okumoto On The Keyboards -  5:33
 9. I Will Go -  5:39
10. Made Alive Again - Wind At My Back -  7:02
11. June -  6:13
12. Falling For Forever - 27:06

One of America’s premier Progressive Rock bands over the past two plus decades without question is Spock’s Beard. Forming in 1992, out in Los Angeles, CA, by brothers Neal and Alan Morse, Spock’s Beard has released 12 studio albums while building a reputation for their live performances. Speaking of which, they are no stranger to live albums, releasing a slew of them over the years, and now return with their latest, Snow Live.
Set for release on Friday November 10, 2017 on Radiant Records via Metal Blade Records/SONY in multiple formats: 2 DVD/2CD Digipack, 3 LP Vinyl (available in four different colors), 2 Disc Blu-ray, and as a 2 DVD/2 CD/2 Blu-ray pack complete with a 48-page Artbook, poster and postcards, what does it all offer? Well, how about two hours of 2002’s Snow album that has never been performed live, bonus encore material, and a great Documentary of behind the scenes interviews that round out this new release from Spock’s Beard! A double album, the band has never played Snow in its entirety until this documented performance in front of an enthusiastic audience in Nashville, TN back in 2016.
A two-hour set, from start to finish, the band shines throughout the performance as they tell the story of the main character Snow. As many know, concept albums can be difficult to present in a live setting, but Spock’s Beard manages to pull it off, offering listeners a great live performance full of dynamics, energy, drama, and touches the viewers’ emotions on many levels. The lineup for the recording includes Neal Morse (lead vocals, piano, synths, electric and acoustic guitar), Alan Morse (electric guitars, vocals), Ted Leonard (electric and acoustic guitar, vocals), Jimmy Keegan (drums, percussion, vocals), Nick D’Virgilio (drums, percussion, vocals, acoustic guitars), Ryo Okumoto (keyboards – hammond organ, mellotron, jupiter 8, minimoog, vocoder), and Dave Meros (bass, vocals).
An impressive cast of musicians, Keegan and D’Virgilio are a percussion powerhouse delivering complex time signatures as well as grooves that make the songs flow like water. Even more exciting, reunited are The Morse Brothers and their onstage chemistry that pulls you in. There is also Okumoto, who is a beast of a keyboard player. Whether he is chomping on a Jazz riff or finessing the Hammond organ, he provides the textures and the aural soundscape for the many moods of the songs.
Additionally, Leonard on guitar and Meros on bass/vocals shine throughout the performance and also contribute some of the complex vocal harmonies. For more texture, the band is also joined by a duo of horn players, and, while staging and lighting are minimal, they are fitting to the story. Most of all, it is refreshing to watch a great band like Spock’s Beard display chemistry and interact with each other all while taking the audience with them on the journey.
Beyond the actual live show, the collection also includes some bonus material including a 30-minute encore disc where the band performs many of their classic songs including “June” and other fan-favorites. The performances are all excellent and mix very well with the main concert disc. This is accompanied by the Documentary Snow live behind the scenes, which details the origin of the original concept of the studio album including the numerous re-writes, and the idea behind the main character through the Q&A format. This gives fans in attendance a chance to hear the band in their own words as they describe the emotions that went into the original recording process and the rehearsals and subsequent performances you are viewing.
Overall, if you love Spock’s Beard, you will love this package. The musicianship is amazing and exactly what one would expect from this band. A great holiday gift, CrypticRock gives Snow Live 4.5 out of 5 stars.

Snow Live

Staring Into Nothing - Power

Bitrate: 320K/s
Year: 2017
Time: 68:50
Size: 158,2 MB
Label: Self Released
Styles: Progressive Rock
Art: Front

Tracks Listing:
 1. Puritans -  4:39
 2. School Daze -  4:34
 3. Obey -  5:09
 4. The Program -  5:14
 5. Heads Or Tails -  5:00
 6. Information Crime -  9:40
 7. Towers - 18:13
 8. Big Brother -  5:36
 9. Freedom -  4:11
10. Gates of Hell -  6:29

Staring Into Nothing are a progressive rock trio consisting of Steve Rogers on keyboards and shared lead vocal duties with guitarist Savannah Rogers, as well as Kurt Barabas on bass and guitar. Power is the first album in a planned series of releases, the next of which – Love and War – are currently being worked on by the band. The sound on Power bears similarities to many other modern prog rock acts but there is enough here to suggest that Staring Into Nothing could eventually become a major player in the scene. “Puritans” is a fitting opener, a slow piano ballad which turns into a groovy rock song before ending almost as a completely different track altogether. “School Daze” continues in a similar vein but is far more of a straightforward pop song than the album’s opener. The tracks work well alongside one another and begin the album on a satisfying note. However, a good portion of the album feels more like a straight-up rock album rather than a full on progressive rock opera. Really it isn’t until “Information Crime” that the band gets really progressive, a nine-minute opus that shifts mood and style multiple times. The band bring in elements of progressive metal and bring a more rocking sound overall to really up the album’s momentum. However, the following track goes even further and doubles up on the track time; at over 18 minutes long “Towers” is by far the most winding, progressive and interesting track on the record. Starting off with a slow ambient introduction, acoustic guitars and Savannah Rogers’ vocals, the song builds slowly and isn’t in any particular rush to reach its conclusion. There aren’t as many fireworks as there were in “Information Crime” but “Towers” is still a monolithic track that stands tall above all others on Power. While overall most of the album is pretty great, certain aspects of Staring Into Nothing’s sound do hold them back at times. The vocals are a bit of an acquired taste, but they do fit the music and overall vibe the group is going for. While at first they might seem grating, they are generally unproblematic. What is a bit more offensive though are the bad lyrics that pop up all over the record. Probably the best way to describe them is ‘clunky’; while there isn’t really anything vomit-inducingly bad, a whole lot of lines just stand out and feel really out of place and awkward. “Gates” does drop the “it’s time to kick some ass” lyric which is almost certainly the worst of the bunch and also highlights another minor flaw to the album - how cheesy a good portion of it can be. While prog rock is no stranger to cheese, Staring Into Nothing do sometimes venture into somewhat cringey territory. It’s a forgivable sin but it does sometimes take you out of the album a little. On the whole, though, there are really good songs at the hearts of these compositions. As mentioned earlier, most of the songs are just really good pop songs at their core and Staring Into Nothing excel at creating memorable melodies and big choruses. Songs like “Obey”, “Big Brother” and “Freedom” keep the album’s momentum flowing even when it should be stuttering, and it’s hard not to appreciate just how much thought must have gone into the sequencing of the record. And when the band do get more progressive on Power’s longer tracks, they show that they are able to keep things interesting and change up moods quite seamlessly. The guitar solos are also always fantastic, bringing some much-needed impetus to a few tracks. They’re never too flashy or overlong and they don’t feel forced, always making them welcome additions to each track they appear on. Staring Into Nothing are an incredibly promising group of musicians who should be setting their sights high with forthcoming releases. Power is a dynamic record that should appeal to anyone with an interest in prog rock and even casual fans of the genre could find things here to love about it. If the band is able to refine their sound they have the potential to unleash a pretty monstrous series of albums upon the world; I can’t wait to see what they will do next.

Power

Bad Dreams - Chrysalis

Bitrate: 320K/s
Year: 2017
Time: 55:35
Size: 127,3 MB
Label: Self Released
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Change -  6:41
 2. Limbo -  9:33
 3. Silent Run -  7:00
 4. Darkness -  6:13
 5. Goblin's Seduction -  6:32
 6. Chrysalis -  8:04
 7. Butterfly - 11:28

Musicians:
Gabriel Agudo - vocals;
Jorge Tenesini - keyboards, sequence programming;
Alex Calvera - bass;
Ariel Trifunoff - guitars;
Fernando Cornejo - drums.
With:
Jota Morelli - drums (1,6)
Steve Rothery (Marillion) - last guitar solo (6)
Angel Mahler - last keyboards solo (6)
Durga McBroom - backing vocals (5)
Lorelei McBroom - backing vocals (5)
Jamison Smeltz - tenor saxophone solo (5)

Bad Dreams is a Latin American progressive rock band. The group started out as a Genesis cover band which over 10 years became known well enough to recognize their accomplishments as musicians. This also led to contact with Steve Hackett, for whom they became an opening act on his tour, and the last Genesis singer Ray Wilson with whom they also played with. In 2015 the band became the first Latin American band in the Cruise To The Edge celebration where they played successful shows. In 2015, Bad Dreams started of releasing their own solo material. They released their debut album 'Apocalypse Of The Mercy' and followed it up with 'Deja Vu' the next year which features Steve Rothery of Marillion on one of the songs. Music of Bad Dreams can be recommended to both fans of Genesis but also of neo prog in the vein of Marillion.

Chrysalis

Memphis Cradle - Love, Lies, Burning

Bitrate: 320K/s
Year: 2012
Time: 45:02
Size: 103,5 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Cold Cold Heart - 3:47
 2. Really Gets My Best - 4:21
 3. Devil Fishin' - 4:20
 4. You've Been Warned - 3:54
 5. Home Cookin' - 2:53
 6. Living Close to the Flame - 4:38
 7. Dirt Nap Serenade - 3:14
 8. Ain't No Way - 4:56
 9. Bad Axe - 3:31
10. Love is in Your Eyes - 5:55
11. I'm Just Your Fool - 3:29

Past IBC competitor representing the North East Ohio Blues Association, Memphis Cradle is a straight ahead, hard rockin' blues power trio. Exploding with the first track "Cold Cold Heart" we are shown what these boys can do and how they do it. Joe King certainly knows how to slash and burn the guitar (it must be his on the cover photo)!. While Gary Sands on bass, and Bruce Woodring on drums more than hold their own. The thing about power trios is that all three musicians have to be exemplary in their craft for it to work...these cats are. Taking to the amplified swamp for some "Devil Fishin'" we hear a cautionary tale of the ages of how the evil one baits the hook to catch us when we let our defenses down and stray to far from the path and before we know it we are hooked. Well constructed tune and the feel that it imparts with the cymbals riding and drum acting as a metronome we can feel the time slipping away from us and darkness creeping in. The guitar work of Mr. King is packed tightly within the song and make it a package deal that is hard to resist.
"Dirt Nap Serenade" serves as another sort of warning. The warning is to that person who just runs their mouth ad nauseum, or lives their live in the fast lane with reckless abandon, and the end it inevitable - hence the dirt nap. A forceful hard rocking edge to this track combined with the lyrics makes it fun and almost anthem like, well for some, at least. They show how they can slow it down to a slow burning blues number with "Love Is In Your Eyes". With tone to spare, Mr. King shows his understanding of the softer side of fretwork, working his solo from full mellow toned notes to fiery distorted rock riffs we see his wide range of influences and interests nicely performed here.A kicking live version of Little Walter's "I'm Just Your Fool" reminds me of what was done in the sixties -seventies when Blues were being covered by young British or American bands. Rockin' & rollin', reelin' & rockin' and fun all the way with just enough updated sound and fury to make it fun for all.Like your blues from the rock side of the tracks, these bad boys are for you.Heavy guitar driven, solo acoustic or piano rollin' big mamous, the blue sis there for you at blues411.com

Love, Lies, Burning

Memphis Cradle - Memphis Cradle

Bitrate: 320K/s
Year: 2008
Time: 41:00
Size: 94,1 MB
Label: MC4
Styles: Blues
Art: Front

Tracks Listing:
 1. Sakes Alive - 3:40
 2. Cradle of the Blues - 3:41
 3. Shake - 4:47
 4. Little Woman Is Alright with Me - 5:20
 5. Love is in Your Eyes - 5:04
 6. It's Good to be the King - 3:37
 7. Daddy's Home - 4:06
 8. Gonna Call on the Mojo Man - 3:35
 9. Karma - 4:39
10. Big, Dumb and Ugly - 2:25

From the outset Memphis Cradle has always been about the blues. Whether you like your blues hard and hot or soft and cool Memphis Cradle’s versatility allows the listener to enjoy all aspects of the genre. The members of Memphis Cradle are all seasoned professionals with many years of experience. With this first self titled cd, Memphis Cradle takes the listener into their world of blues. From their upbeat Chicago influenced songs to hard hitting guitar blues, then mellowing down to slow and soulful, Memphis Cradle if a true blues listening experience/

Memphis Cradle

Ronnie Earl & The Broadcasters - The Luckiest Man

Bitrate: 320K/s
Year: 2017
Time: 70:01
Size: 161,2 MB
Label: Stony Plain Records
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Ain't That Loving You -  5:38
 2. Southside Stomp -  4:13
 3. Death Don't Have No Mercy -  6:00
 4. Jim's Song -  3:00
 5. Heartbreak (It's Hurtin' Me) -  6:42
 6. Howlin' Blues -  4:10
 7. Never Gonna Break My Faith -  5:24
 8. Long Lost Conversation - 10:14
 9. Sweet Miss Vee -  4:15
10. Blues For Magic Sam -  5:24
11. So Many Roads - 10:51
12. You Don't Know What Love Is -  4:04

Stony Plain Records proudly announces the November 17 release of the latest CD from multi Blues Music Award-winning guitarist Ronnie Earl and his band, the Broadcasters, The Luckiest Man. Ronnie Earl calls the album, “A traditional blues album of remembrance, love, and unwavering resolve to live with faith and gratitude.” The new disc was recorded at Woolly Mammoth Studios, Waltham, Mass.; Keep the Edge Studio, Quincy, Mass.; and in Groton, Mass.
On The Luckiest Man, Ronnie and the Broadcasters, both current as well as some of the earliest members, contribute to the new album, which follows the sudden loss of Jim Mouradian, the band’s beloved bass player following a show in January. Mouradian was also a respected guitar luthier, family man and a gentleman. This musical journey through loss and healing can be felt in the hauntingly beautiful “Death Don’t Have No Mercy,” and in Ronnie’s tender tribute to his brother on “Jim’s Song.” Life moves ever onward in the pulse and beat of “Heartbreak,” and faith takes hold in “Never Gonna Break My Faith.” For the song, “Long Lost Conversation,” Ronnie is reunited with some of the earliest Broadcasters and current members of Sugar Ray and the Bluetones, who were on his first albums in 1983, all of whom contributed to this truly being a family band project: Sugar Ray Norcia – vocals, harp; Anthony Geraci – piano; Mike Welch – guitar; Neil Gouvin – drums; Michael “Mudcat” Ward – double bass & Fender bass.
The title of the album, The Luckiest Man, is a phrase and response spoken by Jim Mouradian who always lived with gratitude in his heart and who never wasted a moment of his life: “I’m the luckiest man you know — and I don’t even know who you know.”
Besides the original songs on The Luckiest Man, Ronnie Earl puts his own, indelible stamp on interpretations of “Ain’t That Loving You,” “So Many Roads” and “You Don’t Know What Love Is.”
In addition to Ronnie Earl on guitar, the Broadcasters include Dave Limina – piano and Hammond B3; Diane Blue – vocals; Forrest Padgett – drums; and Paul Kochanski – bass. Guest musicians on the new disc also include Nicholas Tabarias – guitar; Mark Earley – baritone sax;  Mario Perrett – tenor sax; and Peter Ward – guitar.
They say that you can’t keep a good man down and that inner resolve is both heard and felt within each song on The Luckiest Man, Ronnie Earl’s twenty-fifth album and his eleventh on Stony Plain Records. Since 1983, Ronnie Earl has released a series of traditional blues albums, often interlaced with jazz, gospel and soul offerings; however he has always returned home to his “mother music” which is traditional blues. Ronnie Earl continues to be one of the most emotive blues guitarists today, whose musical voicings deal with loss and healing, gratitude and love, compassion and passion. Indeed, it is those emotional touchstones within his music, which is so beautifully reflected in the swirl of colors expressed in artist Tom Noll’s painting of Ronnie on the cover.
The Luckiest Man confirms Ronnie Earl’s status as one of the most soulful blues/soul/jazz guitarists working today. He is a three-time Blues Music Award winner as “Guitar Player of the Year,” a DownBeat magazine winner for “Blues Album of the Year,” an Associate Professor of Guitar at Berklee College of Music and has taught at the National Guitar summer workshop in Connecticut.

The Luckiest Man

Wes Williams Band - Live at the Elks Theater

Bitrate: 320K/s
Year: 2017
Time: 74:08
Size: 169,8 MB
Label: 574763 Records DK
Styles: Blues
Art: Front

Tracks Listing:
 1. Downtown New Orleans (Live at the Elks Theater) -  6:54
 2. Get Out & Run (Live at the Elks Theater) -  5:27
 3. On Fire (Live at the Elks Theater) -  6:46
 4. Go to the Mardi Gras (Live at the Elks Theater) - 10:13
 5. Southern Girl (Live at the Elks Theater) -  6:24
 6. Stand Up (Live at the Elks Theater) -  4:00
 7. Hide and Seek (Live at the Elks Theater) -  5:34
 8. Sedona Glow (Live at the Elks Theater) -  6:52
 9. Better Than This (Live at the Elks Theater) -  5:20
10. Beast in Me (Live at the Elks Theater) -  4:25
11. Where the Light Shines (Live at the Elks Theater) -  5:19
12. Soul Shine (Live at the Elks Theater) -  6:48

This is a live recording, mixed and mastered by Andrew Sharkey of Prescott Pro Sound/ Recorded live at The Elks Theater in Prescott, AZ. This was the encore/

Live at the Elks Theater

Paidarion - Hauras Silta

Bitrate: 320K/s
Year: 2009
Time: 65:00
Size: 149,0 MB
Label: Seacrest Oy
Styles: Progressive Rock/Prog-Folk
Art: Front

Tracks Listing:
 1. Hauras Silta - 5:28
 2. Polku - 3:54
 3. Oljenkorsi - 5:57
 4. Pieni Askel - 5:04
 5. Eksynyt - 4:01
 6. Kipinat Vedesta - 6:19
 7. Kultapallo - 8:00
 8. Tyhja Takki - 4:51
 9. Tuulensuoja - 5:48
10. Hahmo - 6:13
11. Paivan Kajo Hileessa - 6:03
12. Hauras Silta II - 3:19

Folk-oriented progressive Rock/Gospel from Finland with beautiful ballads and hard rocking songs.
Paidarion is a new group from Finland playing Folk-influenced progressive Rock with gospel-oriented vocals.
Some members from the groups Mist Season and Progression have participated in the Paidarion-project. Although Paidarion's music is related to Mist Season, it relies more on rock and ballads.
The CD has been mixed by the Finnish Prog Legend, Tommi Liuhala (who ever since the 70's has worked with for ex. Wigwam, Kalevala and Haikara).
Hauras Silta-CD contains 12 melodic songs from different situations in life. The music could be described as prog/gospel with country- etc. influences. The instrumental parts of experienced musicians color the vocal parts of Kristina Johnson and Jari Markkula with many kinds of lights and shadows.
The bass-virtuoso Jan-Olof Strandberg has performed and kept bass clinics around the world. He has played with many top Finnish musicians (Jukka Tolonen, Ilkka Rantamäki, Jukka Gustavson etc.) and on his records he has had special guests like Armand Sabal-Lecco (Paul Simon) and Dominique de Piazza (John McLaughlin) among others.
Guitarist Tommi Varjola has studied classical guitar both in Finland and in Germany. In June 2009 Tommi will tour Finland in a special assembly featuring Randy Brecker.
Keyboard player Timo Kajamies is going to participate the French record company Musea's concept album ”ILIAD” (Progressive Duels on Grand Piano), on which 12 pianists from around the world will make music inspired by Homer's Iliad.
Flutist / saxophone player Olli Jaakkola has played in Hämeenlinna's City Orchestra and in various Big Bands, for example Ted Curson Big band and Jaso Big Band.
Harri Göös on is an experienced rock-guitarist and Jaan Jaanson has drawn positive attention with his playing in Progression.
Kimmo Pörsti has made music for various TV shows and played with for example Juhani Aaltonen (Tasavallan Presidentti).
The CD is highlighted with a 20-page,4-colour booklet by Esko Tuovinen.
The CD is sung in Finnish, but there are short english explanations about the texts of Pirkko Salhi. All the information in the booklet is both in Finnish and English.

Hauras Silta

Paidarion Finlandia Project - Two Worlds Encounter

Bitrate: 320K/s
Year: 2016
Time: 56:51
Size: 130,7 MB
Label: Seacrest Oy
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Colin And Wendy - 5:31
 2. Billy Would Climb - 4:26
 3. Fragile Bridge - 5:00
 4. Jungle Fever - 5:36
 5. Yellow - 5:31
 6. Ode To Billie Joe - 6:11
 7. Cloudberry Sky - 1:36
 8. Grand Canyon Of My Dreams - 5:08
 9. Horseman To Symphinity - 8:28
10. Why Oh Why - 2:57
11. Hahmo - 6:21

Musicians:
Jan-Olof Strandberg – Fretless & Fretted Bass;
Kimmo Porsti – Drums;
Jenny Darren – Vocals;
Robert Webb – Keyboards, Acoustic Guitar, Vocals;
Otso Pakarinen – Keyboards, Synth;
Kev Moore – Vocals;
Bogati-Bokor Akos – Electric & Acoustic Guitars, Backing Vocals.

I first found Paidarion after the release of their second album, Behind the Curtains, back in 2011 and A Leap Into the Unknown was one of my favorite prog songs of that year That pipe organ/synthesizer opus is still a cherished favorite. Their first album, Hauras Silta, from 2009 still remains a mystery…but not for long as I have ordered it.
The band returns in 2016 with a new album under the appended Finlandia Project name. Two Worlds Encounter began as an idea to invite special guests to perform with the band on a tour of Finland in April 2015. After the shows these guests – vocalists Jenny Darren, Kevin Moore and Robert Webb (from the band England, who also adds keyboards and acoustic guitars), guitarist Bogati-Bokor Akos and keyboardist Otso Pakarinen – were invited to join original band members drummer Kimmo Porsti and bassist Jan-Olof Strandberg to make the new album.
What they have created is one of the better albums of 2016. The music is superb and alongside Ed Unitsky’s colorful, otherworldly, and dynamic gatefold artwork really makes for an album to be heard by all. Each of the proggy tracks are original compositions except for, of course, Ode to Billy Joe, the famous ’70s tragi-classic from Bobbie Gentry – imagine that one performed by a prog band…
Colin and Wendy makes for a fantastic start, Jenny Darren’s vocals soaring against great keyboards, powerful guitars and solid drums pounding out the beat. Billy Would Climb has an almost Dan Fogelberg acoustic feel to it, at the opening. Darren sings with acoustic guitar accompaniment before drums and electric bass and guitars join in, keyboards later adding more depth and prog strength to the song.
Flute-like keys open Fragile Bridge, making the sound like something out of Middle Earth. Darren returns with excellent lyrics and great support from the rest of the band, heavy electric guitars strengthening the sound with keyboards and synthesizers taking over mid-way through. Jungle Fever is a jazzy instrumental, full of unique keyboard sounds, bass and guitar work mixed in helping to prevent overload. This is easily one of my favorite tracks here, as is Grand Canyon of My Dreams, full of string orchestration, keyboards, and layered guitars – as big as the canyon it describes with Darren delivering a powerful message, a great mix between Ann Wilson and Grace Slick.
In contrast, acoustic and then electric lead guitars open Yellow, like wind through the evergreens before Darren sing, “To see the morning sunrise every day…I cannot wait…”. An excellent song to begin the day, Yes-like guitar is then surrounded with the sound of strings. One of the album’s best tracks. Cloudberry Sky is similar but presented as a full acoustic guitar instrumental, creating a calming, fireside feeling, Bogati-Bokor Akos doing a fantastic job in freeing the imagination.
Ode to Billie Joe follows the story with a different, European sound. It’s my least favorite track on the album, but I respect them for recording the song, which is obviously a band member favorite. Horseman to Symphinity is an excellent long track with powerful keyboard instrumentals and plenty of great guitar work. Why Oh Why has an unexpected country beat to it, twangy guitar parts leading to keys and synths, reminding that even ELP recorded a song named Hoedown.
Finally, Hahmo is a powerful closer that opens with mysterious keys and plenty of good electric guitar. This is a wonderful ‘meeting of the worlds’ kind of album which brings together American songs and Finnish folklore, all surrounded with great musicianship.

Two Worlds Encounter