Deb Rhymer - Don't Wait Up

Bitrate: 320K/s
Year: 2018
Time: 39:42
Size: 91,1 MB
Label: 631280 Records DK
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Heartache & Trouble - 3:50
 2. Let Your Heart Decide - 4:36
 3. Cry for Me - 3:31
 4. Don't Wait Up - 4:19
 5. I Got You (I feel good) - 3:23
 6. Just Enough Blues - 2:39
 7. There's the Door - 4:01
 8. Won't Be Long - 4:01
 9. Waking Up Slow - 4:21
10. Giving Me the Blues - 4:57

Deb was born and raised in Victoria, British Columbia and made her debut as a vocalist at age 17 with the the rock band Hostage. In 1997 she began fronting the blues band No Fixed Address. Her love of the blues had begun! Known for her dynamic voice and unique bluesy style, Deb has had the opportunity to work with some of Victoria's best musicians. Her CD was released in 2006 and has received excellent reviews. Select songs have been featured on the CBC Saturday Night Blues with Holger Peterson. Deb has been featured for many years at the R&B Fest, Vancouver Island Blues Bash and many local clubs. The Deb Rhymer Band also hosts the Sunday Blues Services jam every Sunday afternoon

Don't Wait Up

Coco Robicheaux - Like I Said, Yeah U Rite!

Bitrate: 320K/s
Year: 2008
Time: 44:53
Size: 103,7 MB
Label: Spiritland
Styles: Louisiana Blues
Art: Front + Back

Tracks Listing:
 1. Work of the Devil - 5:01
 2. Revelator - 3:18
 3. Hot Sauce Boogie - 3:53
 4. The Moment - 4:11
 5. Ten Commandments of the Blues - 8:18
 6. If You Still Want Me - 5:02
 7. Home - 4:34
 8. I'm a Musician - 3:04
 9. Decision Blues - 4:16
10. Yeah, U Rite! - 3:11

Louisiana bluesman Coco Robicheaux was no stranger to the blues, either musically or otherwise. He played the blues most of his life, fronting his own band when he was 13 years old, playing Bourbon Street just two years later, and inking a record deal around the age of 18. Sounds like smooth sailing, but that often wasn't the case for the musician. He suffered a broken back when a vehicle struck him, and his lack of health insurance sent him to a charity hospital. In severe pain, he waited more than 24 hours beside a gunshot victim in an emergency room. The experience gave him a firsthand look at what a large segment of the population goes through due to lack of affordable health insurance, and it strengthened his resolve to do something to help.
He was one of the featured volunteer contributors on the CD Get You a Healin', a fundraising project for the New Orleans Musicians' Clinic housed in the Health Sciences Center at LSU. Appearing with Robicheaux on the funk disc were Maria Muldaur, the Funky Meters, Luther Kent, and Dr. John, among others. The album's playful concept centered each track on a part of the body or a health condition, and Robicheaux contributed "Louisiana Medicine Man." Also included were "Rockin' Pneumonia" by the Funky Meters and "Pain in My Heart" from the Gyptians, among other songs. During the '60s in San Francisco, Robicheaux helped establish a free health clinic with another civic-minded crew that counted among its members singer Janis Joplin.
Born Curtis John Arceneaux in 1947 in Ascension Parish, Louisiana, Robicheaux was the oldest child of four born to Virginia and Herman Arceneaux. He made a record in 1965 for Mississippi label JB, but did not record further until the mid-'90s, when he put out Spiritland for Orleans Records. The album was well received, and in 1998 Robicheaux recorded Louisiana Medicine Man and followed up with Hoodoo Party. In 1998, Offbeat magazine dubbed him the winner of its award for the year's Best Blues Album by a Louisiana Artist. He received three nominations, one in the category of Best Blues Artist, from the Big Easy Entertainment Awards the following year. In addition to his New Orleans gigs, he performed in Colorado, New York, South Carolina, Australia, and Paris. He played festivals in Canada and France, and appeared for eight consecutive years at the New Orleans Jazz & Heritage Festival beginning in 1994. He also played annually at the New Orleans French Quarter Festival starting in 1995. After the turn of the millennium, Robicheaux released three albums on the Spiritland label: Yeah, U Rite! (2005), Like I Said, Yeah, U Rite! (2008), and Revelator (2010). Coco Robicheaux died in New Orleans in November 2011 at the age of 64. ~ Linda Seida

Like I Said, Yeah U Rite!

John Mooney - Truth of the Matter

Bitrate: 320K/s
Year: 2017
Time: 35:07
Size: 81,9 MB
Label: Funny Bird Records
Styles: Blues
Art: Front

Tracks Listing:
 1. Truth of the Matter - 4:06
 2. Row My Boat - 3:38
 3. Deal with Love - 3:29
 4. Please Baby - 4:10
 5. Over & Over - 2:21
 6. Jailbird Love Song - 2:38
 7. Push & Shove - 3:26
 8. Standin' still - 4:31
 9. Motherless Child - 3:50
10. Ashes & Ashes - 2:54

Musicians:
John Mooney – vocals, slide guitar
Rene Coman – bass
Doug Belote – drums
Jon Cleary – piano, Hammond B3
John Gros – Wurlitzer, Hammond B3
CR Gruver – Hammon B3
Bruce Barnes – accordion
Alfred “Uganda” Roberts – congas
Jeff Watkins – alto sax, tenor sax
Ian Smith – trumpet, valve trombone
Cornell Williams – background vocals
Peter Skinner – background vocals
Jake Eckert – guitar, rubboard

In the world of blues critics, guitarist, singer, and songwriter John Mooney has long been a favorite. That's because he takes all he learned from classic Delta bluesmen like Son House and others and modernizes their stylings while adding his own unique stamp to classic Delta blues tunes. Even his original songs, often autobiographical, are steeped in the classic blues tradition. Mooney divides his time between residences in Florida and New Orleans, and usually works with a simple guitar-bass-drums trio known as Bluesiana. His vocals are powerful and inspired, and his guitar playing is often loud and electric, but so steeped in the style of House and others classic Delta bluesman, that he transcends generations in the blues idiom.
Growing up in Rochester, New York, Mooney took to the guitar as a ten-year-old and quickly became obsessed with the instrument, initially learning to play tunes by the Beatles and Rolling Stones. When he was 11, a neighbor who worked at WHAM, a Rochester radio station, gave Mooney some recordings by Scrapper Blackwell and Robert Johnson. These recordings turned his head and life around and he soon discovered other great bluesmen, including Muddy Waters, Freddie King, Albert King, and B.B. King. Collecting, repairing, and playing National Steel resophonic guitars became his obsession. He began his professional performing career at 13, at first playing many shows with Rochester area blues guitarist Joe Beard. By his mid-teens, Mooney had worked out a few Son House tunes on his guitar, using his slide. House had moved to Rochester to "retire," but one day Beard suggested that he get Mooney over to House's residence. "Joe said to me, ‘You play so much Son House, you really ought to meet him,' so he introduced us. I was 16 at the time. Son and I would get together at his house. At his house, you couldn't play blues; we'd have to go outside or do a gig in a club somewhere. Even if his wife wasn't there, he still wouldn't play blues in the house."
Mooney left Rochester in 1973 and hitch-hiked his way across the country or hopped freight trains to get to California, Arizona, and Texas. He finally settled in New Orleans in 1976 and a year later, by the spring of 1977, he was playing the New Orleans Jazz and Heritage Festival, which was then getting off the ground. Blind Pig released Mooney's debut album, Comin' Your Way in February, 1979, and he's been actively recording ever since. His other releases include Late Last Night for Bullseye/Rounder in 1980, Telephone Blues in 1984 for Powerhouse Records, and Telephone King in 1991 for the same label, run by D.C.-area blues-rock guitarist Tom Principato. His other albums include Testimony (1992, Domino), Sideways in Paradise (with Jimmy Thackery, Blind Pig, 1993); Travelin' On (1995, CrossCut); Dealing with the Devil (1995, Ruf Records) Against the Wall (1996, House of Blues); Gone to Hell (2000, Blind Pig); All I Want (2002, Blind Pig) and Big Ol' Fiya (2006, Live Music Lives). Mooney continues to tour the U.S., Europe, Japan, and Australia. Anyone who's seen him can tell you how powerful his trio concerts are. ~ Richard J. Skelly

Truth of the Matter

Dialeto - Will Exist Forever

Bitrate: 320K/s
Year: 2008
Time: 42:59
Size: 99,8 MB
Label: Voiceprint/Rock Symphony
Styles: Progressive Rock/Heavy Prog
Art: Full

Tracks Listing:
 1. Vermelha - 3:29
 2. Mme Blavatsky - 3:34
 3. Existence - 5:28
 4. Enigma - 5:12
 5. Animal - 3:09
 6. Anger - 4:06
 7. Seven Drunks - 3:29
 8. Misty Queen - 3:59
 9. Gunga Din - 3:01
10. Just for Free* - 4:21
11. Animal (portuguese)* - 3:07

DIALETO are a power trio from Sao Paulo, Brazil. The first time I heard them I thought of some of those heavy KING CRIMSON-like bands from Chile I like so much. After many listens though I have to say that these guys have their own unique sound. I just have a blast when I play this.The vocalist can be theatrical, and the guitar, bass and drums are so impressive. I guess I just like this style of music a lot, and these guys couldn't perform it any better.
"Vermelha" opens with this atmospheric guitar that goes on and on unil it kicks in before 2 1/2 minutes. Nice. "Mme. Blavatsky" is dark and eerie with drums and bass leading the way. Spoken words a minute in. It;s building and then the guitar starts to solo 2 minutes in. "Existence" has an ethnic flavour to it and I love the sound of the guitar after 1 1/2 minutes and 3 minutes in. Deep bass later. "Enigma" is dark and haunting as spoken words come in. This is so good as he tells this story, I really like his accent too. This gets pretty heavy at times and check out the guitar and bass 4 minutes in. The drums are over "Animal" and the vocals get theatrical in this uptempo rocker. "Anger"has some good bottom end to it and the vocals are again theatrical but laid back this time. "Seven Drunks" opens with what sounds like seven drunks laughing. Guitar then takes over with bass and drums. Great sound. Some angular guitar here too. "Misty Queen" opens with relaxed guitar melodies as reserved vocals join in. It kicks in after 1 1/2 minutes. The guitar is killer 2 minutes in and check out the growly bass. "Gunga Din" has this spooky intro but it changes quickly as the whole band comes in. The guitar solo before 2 minutes as drums pound and bass throbs. I don't usually comment on bonus tracks but "Just For Free" is worth some commentary. The guitar is all over this until the drums and bass arrive 2 minutes in. Great sound a minute later. Highly recommended for fans of Heavy-Prog, this is too much fun.

Will Exist Forever

UHF - If It Was Easy

Bitrate: 320K/s
Year: 2002
Time: 46:04
Size: 105,6 MB
Label: Second Story Record
Styles: Rock/Modern Rock
Art: Front

Tracks Listing:
 1. She Don't Know - 5:02
 2. Mr. Grey - 4:09
 3. She's Going up - 3:41
 4. First Thing in the Morning - 4:30
 5. Easy - 4:16
 6. Toast - 4:45
 7. Moderntown - 3:45
 8. Rain on the Street - 3:29
 9. Last Rays of the Sun - 8:06
10. These Footsteps - 4:17

Portland natives UHF came together in 1998 when drummer Matt Johnson and bassist/guitarist Jeff Nelson met brothers Jeremy and Jordan Leff. Adding the brothers on vocals and guitar, respectively, the four recorded Pieces soon after their formation. In 2000, the concept album Lottery followed it up and became a minor hit in the Northwest indie scene. In 2002, they released another psychedelic pop collection, the Gregg Williams-produced If It Was Easy. ~ Bradley Torreano

If It Was Easy

Konstantin Klashtorni - Groove Jazz N Chill #6

Bitrate: 320K/s
Year: 2018
Time: 55:37
Size: 127,7 MB
Label: Kvk Music
Styles: Jazz/Smooth Jazz
Art: Front

Tracks Listing:
 1. Dearest - 3:51
 2. Love At Midnight - 4:37
 3. Inspiration - 5:30
 4. Serendipity - 4:38
 5. A New Day - 4:44
 6. Four Miles - 4:12
 7. Eyes Like Sapphire - 4:35
 8. It's Only You - 4:39
 9. All The Way - 5:03
10. An Evening's Tale - 4:50
11. Above The Moon - 4:13
12. Still Waters - 4:41

Start with a sonic atmosphere… then layer it with textures of jazz and electronica… throw in some cool beats, erotic grooves – this what Chillaxing Jazz KolleKtion is about. This album is the Volume #5 of bestselling Smooth Jazz on Amazon Mp3.
The mastermind of Kool&Klean series, producer and contemporary saxophonist Konstantin Klashtorni keeps producing smooth tracks for Chillaxing Jazz KolleKtion. His newest album is a special blend of chill out, electro jazz, relaxing grooves and sweet melodies, - relaxing and soothing to your heart and mind.

Groove Jazz N Chill #6

Bobby Radcliff - Absolute Hell

Bitrate: 320K/s
Year: 2016
Time: 32:02
Size: 73,6 MB
Label: Self Released
Styles: Blues/Guitar Blues
Art: Front

Tracks Listing:
 1. Absolute Hell - 3:55
 2. Airport People - 3:11
 3. Sweet Emily - 3:11
 4. Jefferson Air Raid - 2:10
 5. Who Ru ? - 2:51
 6. The Agony Booth - 4:32
 7. Broiled Owl - 2:07
 8. Everybody - 3:27
 9. Krellno Hop - 2:06
10. Fried Mongoose - 4:27

NYC Blues Legend BOBBY RADCLIFF's latest work Absolute Hell. This is the most creative and innovative project Bobby Radcliff has ever recorded. Ten new original compositions are featured. The songs mix blues based roots with rock, jazz, & surf, textures. Recorded in California between 2010 and 2015 with his west coast USA band. Bobby Radcliff (guitar/vocals/producer), Chris Matheos (bass/co-producer), Bob Danielson (drums). Special guests: Clint Warner (second guitar on tracks Fried Mongoose & The Agony Booth), Rockin' Johnny Burgin (second guitar on Broiled Owl), Rob Anderson (drums on Fried Mongoose). This CD is a continuation of the "Freaking Me Out" CD sessions. Only this CD is even more creatively pushing the boundaries of Radcliff's songwriting. Bobby Radcliff's original artwork is featured on the CD cover and CD faces. There is a variety of cover art variations in circulation as well as cd face variations. A CD collectors dream come true!! Radcliff's masterpiece The "City of Hell" is featured on the front cover artwork and in the lyrics of the title track. Some of the CD variations even feature alternate versions of songs (like the title track Absolute Hell and The Agony Booth)!! NOTE: The music on this CD is far more experimental than any of Radcliff's BlackTop Records releases. No overdubs here or heavy over production. Just a live trio/quartet getting creative on some experimental blues based music. This is the second release on Radcliff's own label Krellno Records. Krellno Records "Music for the Insane"!!!!

Absolute Hell

Bobby Radcliff - Crime School

Bitrate: 320K/s
Year: 2018
Time: 61:41
Size: 141,5 MB
Label: Self Released
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Two Heads - 3:00
 2. Mean Ms. Mindy - 3:23
 3. Seyler's Bald - 2:51
 4. Tina's Teenage Dance - 4:12
 5. Forbidden Love - 5:03
 6. Class Reunion - 2:55
 7. Pineapple Storn - 5:25
 8. Plastic Doll Blues - 3:46
 9. Rat's Nest - 2:56
10. Roast Beef Float - 3:55
11. Crime School - 1:52
12. Mouse Man - 6:22
13. Kandy Soup - 6:48
14. Still in Love - 8:21
15. Pork Roll Blues - 0:44

Musicians:
BOBBY RADCLIFF - guitar/vocals;
CLINT WARNER - guitar;
CHRIS MATHEOS - bass;
KEITH HURRELL - drums.

New York Bluesman BOBBY RADCLIFF. One of the most innovative & original musicians on today's blues scene. Although Bobby Radcliff has spent the last 25 years honing his craft in bars around his native Washington, D.C., and in New York City and Chicago, the singer and songwriter came into his prime at the age of 45, in the late 2000s. Born September 22, 1951, Radcliff grew up in Bethesda, Maryland and had easy access to Washington, D.C. blues clubs, where he learned from people like Bobby Parker. Before graduating from high school, he'd already made several trips to Chicago to meet his idol, Magic Sam Maghett, owing to a small but growing blues club scene in Washington. Radcliff began playing when he was twelve, and he started off taking classical guitar lessons. After his guitar teacher showed him some blues, he began buying every blues guitar album he could get his hands on.
In 1977, Radcliff moved to New York City and worked in a bookstore by day until 1987, when he realized he was making enough money playing in clubs to give up his day job. Since he hooked up his recording deal with BlackTop Records, Radcliff has toured the U.S., Canada, and Europe more than a dozen times, and his fiery guitar playing is always a festival crowd-pleaser. Radcliff has three excellent albums out on the BlackTop label that showcase his songwriting, guitar playing, and soulful singing. They include his debut, Dresses Too Short (1989), Universal Blues (1991), and There's a Cold Grave in Your Way (1994). Collectors will seek out his 1985 vinyl release, Early in the Morning, on the A-Okay label. ~ Richard Skelly

 Crime School

Big Harp George - Uptown Cool

Bitrate: 320K/s
Year: 2018
Time: 56:52
Size: 130,2 MB
Label: George Bisharat
Styles: Blues/Harp Blues
Art: Front

Tracks Listing:
 1. Down to the Rite Aid - 5:11
 2. Internet Honey - 4:27
 3. Alternative Facts - 5:30
 4. I Wanna Know - 4:01
 5. Nobody's Listening - 5:09
 6. In the First Place - 4:17
 7. Standing in the Weather - 4:00
 8. Bulletproof - 4:43
 9. Cold Snap By the Bay - 5:48
10. Just Calm Yourself - 3:46
11. Uptown Cool - 4:06
12. Lord, Make me Chaste - 5:48

If I saw the name Big Harp George outside a venue I’d be very disappointed if I found that he was playing a stringed instrument normally associated with the Angels! Yes; this George; the very dapper George Bisharat from San Francisco plays the chromatic harmonica and boy can he play it!
That said; on this his third album George predominantly sings and boy, can he sing too. Alongside an ever growing band, on the opening track Down to the Rite Aid, George swings the life out of a rye observation on the tough life people and in particular musicians have these days.
This is followed by the funky Internet Honey; where our narrator’s friend who is ‘built for love and not for speed’ finds love; and lots of it on the internet. Already you realise that Big George and band have one foot in the past with their classic R&B ‘sound’ but the other is very much in the present with the topics he writes and sings about.
George’s sweet, sweet harp playing obviously drifts in and out of many songs and when it does, it makes the mournful Nobody’s Listening and the tongue in cheek Lord Make Me Chaste (but not yet) quite extraordinary in a world where I thought ‘I had heard it all before.’
I don’t know where or when but there’s one song here that I instantly recognised; yet it appears to be brand new for this album. Cold Snap By The Bay is a deep and insightful tale about three homeless men who died one cold night in San Jose; and the story never made the newspaper never mind the front page.
This song, dear reader is exactly what the Blues has always done better than any other musical genre; prepare to have your heartbroken in six soulful minutes. But the Blues comes in many formats and Big Harp George’s band can play them all with vigour and class. Sizzling guitar; a trombone that sounds like a full Memphis big old brass section, industrial strength drumming and a bass player from the Gods surround George and his harmonicas in a way we thought I could only dream about until now.
Just Calm Yourself is a cool and danceable call and response duet; while the two instrumentals In The First Place and especially the title track Uptown Cool prove that a good tune doesn’t necessarily need words to get the message across.
Then there is the RMHQ Favourite track award; and I’m going for another fun and slightly tongue in cheek song this time; Alternative Facts uses a couple of the President’s ‘favourite phrases’ to describe the way a singer decides to re-write his career so he can make it famous. Yet again George uses a classic Blues tradition (think BB King) but makes his lyrics very, very contemporary for a much younger generation.
What more can I say? Watching bands like this are where I cut my teeth around Newcastle in the 1970’s but sadly technology, Punk and babies came onto the scene and the bands and fans had all moved on by 1980; but thankfully there is still a vibrant Rhythm & Blues scene in the USA with bands prepared to go out on a limb paying homage to the past but bravely writing and singing their own razor sharp material.
(http://www.bigharpgeorge.com)

Uptown Cool

Mystery - Lies and Butterflies

Bitrate: 320K/s
Year: 2018
Time: 64:07
Size: 150,8 MB
Label: Unicorn Digital
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Looking For Something Else - 16:55
 2. Come To Me -  5:16
 3. How Do You Feel ? -  4:53
 4. Something To Believe In -  7:34
 5. Dare To Dream -  6:54
 6. Where Dreams Come Alive -  7:26
 7. Chrysalis - 15:07

For a band that originated over thirty years ago and has seen the comings and goings of three lead singers and countless band members, Mystery retains one of the most consistent sounds of any progressive rock group. Whether that is a good thing or bad thing is a subjective determination, but as is the case with bands in other genres such as Boston or Katatonia — what you hear is what you get, album after album after album.
Lest that sound like a fatalistic pronouncement, the good news is that for fans of modern progressive rock, Mystery delivers the goods with each and every new release. Beautiful melody lines, lush production, soaring lead vocals, impeccable instrumentation, inspired electric guitar solos…it’s all here. Every album is a polished work of art. Fans can know what to expect – and what NOT to expect – and these expectations are invariable met. Because one thing is definitely not a mystery about this band: the consistency of their output.
New album Lies and Butterflies refuses to fly in the face of Mystery’s formula. Instead, it continues the band’s trajectory of sumptuous epics and shorter, hook-laden prog singles. Starting where previous live album Second Home left off, we hear the cheers of the crowd and the farewell of the band leaving the stage…perhaps to return to the studio where Mystery continues to be “Looking for Something Else”. This opening piece is a clever start to Lies and Butterflies, a slow burner that builds over its 17 minute journey, and bears some relation to the other epic which closes the album, “Chrysalis”, the two forming neat bookends between which are sandwiched five shorter pieces.
Those shorter songs, ranging from 5-8 minutes each, all have their strengths in memorable choruses, well thought-out song structures and prog-jam soloing sections. Several could have radio-friendly potential, such as “Come to Me” which begins with simple acoustic patterns before capturing the listener with its enveloping chorus. “Something to Believe In” nearly veers too closely towards a cliche’d anthemic chord progression which a band like Journey might use to sell thousands of copies. However, a three minute instrumental interlude in the middle maintains the song’s prog cred, while assuring that it will now get little radio airplay unless it has a single-edit.
Traditionally the bulk of Mystery’s songwriting comes from group leader and founder Michel St-Pere. This album contains two notable exceptions: “Dare to Dream” penned by singer Jean Pageau and sporting a truly remarkable chorus; followed by one of the highlights of the album “Where Dreams Come Alive”, with Michel contributing the lyrics and the music being written by the group’s other guitarist Sylvain Moineau. This latter song leads to one of the most thrilling guitar performances on the album, supported by an escalating chord progression.
The centerpiece of the album however is the closer “Chrysalis”, which ties more directly into the album title. This fifteen minute epic includes a little more crunch than the rest of the album, which at this point is very welcome. Unlike many bands who create long epics by stringing together shorter songs with minimal relation, Mystery excels at making these longer pieces flow organically with a natural rise and fall of dynamic expression. Both delicate and hard-edged, “Chrysalis” provides a satisfying conclusion to Mystery’s latest sonic creation.
Throughout Lies and Butterflies we are treated to three particularly noteworthy features via these three Mystery men: lead singer Jean Pageau’s gorgeous vocals, Michel St-Pere’s flawless lead guitar solo sections, and drummer Jean-Sebastien Goyette’s fully embodied approach to the percussion which engages the listener on every tune. Michel’s immaculate production highlights each of these elements and they are richly rewarding. The bass lines, backing vocals, acoustic guitars, occasional flute and multitude of keyboards support the overall sonic experience which makes it very hard not to be swept up in the full majesty that is Mystery.
For all of these superlatives, the truth is that the same could be said about most any of Mystery’s last four studio albums, if not their entire catalog. It may be very hard for a fan to pick out their favorite album or them, because the sound, musicianship and songwriting quality is so consistent. Therefore this album will be unlikely to convert any new fans who previously had no interest, and we also can’t give extremely high marks for originality compared to their previous output. But for those who are already onboard the Mystery train – or as an entry point for newcomers – Lies and Butterflies reaches the sky and beyond.

Lies and Butterflies

Klotet - En Rak Hoger

Bitrate: 320K/s
Year: 2008
Time: 48:29
Size: 112,4 MB
Label: Musea Records
Styles: Progressive Rock/Eclectic Prog
Art: Front

Tracks Listing:
 1. Jagad Av Satan - 2:20
 2. Vanlig Dag Pa Jobbet, Snutjavel - 3:37
 3. En rak Hoger Sa Att Glasogonen Rok - 4:16
 4. Tulpandrakula - 4:17
 5. Den Felande Lanken - 2:48
 6. Skrankel - 0:49
 7. Allt Ar Inte Farligt - 3:48
 8. Ar Detta Humor - 3:49
 9. Makt Korrumperar - 4:50
10. Kontrollapparat - 3:33
11. Baklangesmannen - 0:38
12. Den Miningslosa - 3:54
13. Ugglor I Mossen - 5:13
14. Splitring - 4:30

A cool keyboards sound with an electronic effect and a dominant bass line presents itself as the album begins, presenting gradually what the band has prepared for us. Soon more sounds are added and the rest of the band joins in. And finally the humorous facet of the music is exhibited as a gypsy/eastern sounding tune is played and developed. Melody is their strong side, as is their ability to wrap it with additional layers of instrumentation and effects. The tracks are catchy, fun and charming and are what makes me coming back to this album and even play several tracks again once they're over. The tracks on the album have each a distinct tune that is played and toyed with, then developed, thrown sideways and resumed. The sound is fuzzy and warm, cool and vibrant; at times sounding psychedelic and at others heavy and sharp. The album contains 14 tracks, mostly short (3-4 minutes) and all work well and have interesting ideas and are well developed and played.
The keyboards (organ and Fender Rhodes I think), played by Milvesofia Rydahl, are definitely the hooks, the root of the music here, and very efficienct bass work by David Hallberg as well as drumming by Mikael Styrke accompany it. Guitarist Påhl Sundström plays alternating roles with Milvesofia; they switch positions of front and back up with their instruments, one leading the other accompanying. This is a highly enjoyable album, high energy levels, ear worm melodies and groovy atmosphere.

En Rak Hoger

Progression by Failure - Progression by Failure

Bitrate: 320K/s
Year: 2009
Time: 68:17
Size: 156,5 MB
Label: Musea Records
Styles: Progressive Rock/Symphonic Prog
Art: Full

Tracks Listing:
 1. Intro -  0:27
 2. Dialog With A Selfish -  7:27
 3. Memories Of The Future - 10:17
 4. The Solitude Of A Winter -  7:56
 5. Desparate Anger - 12:24
 6. Talion -  6:59
 7. Progression by Failure - 22:44

Musicians:
Nicolas Piveteau - All The Instruments:

Stunning debut CD of this one man band that reveals the genious of french multi instrumentalist and songwriter Nicolas Piveteau. I was drawn to this CD when I read Ivan Nelgar?s glowing review and, after repeated listenings, I can say he is right on the mark! This is a fantastic work that blends very different styles and genres to produce a music that is, at the same time, original and accessible. What a rare chemistry!  The CD is a totally instrumental affair and is basicly just keyboards and drums but you won?t miss any other instruments on this very well balanced album. It is clear that classical music is the main influence, but there are lots of other sutff in the mix: avant guard, jazz, King Crimson, Erik Satie, prog rock, even thrash metal bits can be traced on some drums patterns and riffs. Some moments are almost chaotic but never to the point of losing its melody line (hence its link with some of KC?s best moments). Some parts are pure lyrical and very, very poignant (The Solitude Of A Winter is a good exemple), some are complex (like the opener Dialog With A Selfish), some are heavy,some are light. In common they have the fact that they are all great!
For a first album this is really a superb work, with a top notch production, fine mix, tasteful arrangements and mature compositions. It?s almost 70 minutes long and yet I think it is too short. I just can?t get enough of this. It?s very elaborate, complex, beautiful symphonic prog music at its best. Highly recommended!

Progression by Failure

Dyonisos - An Incidental Collection

Bitrate: 320K/s
Year: 2007
Time: 61:25
Size: 148,9 MB
Label: Musea Records
Styles: Progressive Rock/Crossover Prog
Art: Front

Tracks Listing:
 1. Visions - 5:17
 2. Reasons - 5:12
 3. Facing Windmills - 5:46
 4. Abstract Visions - 4:47
 5. Leaving Home - 5:07
 6. Pasture in Kahaluu - 8:22
 7. Absolute Center of Nowhere - 4:18
 8. Permanent Disembodiment - 4:10
 9. When Silence Has Spoken - 4:24
10. The Wave - 3:11
11. Ohia Lehua - 4:12
12. Voices - 6:34

Prolusion. "An Incidental Collection" is the second official release by DYONISOS, which is just a moniker for American multi-instrumentalist and songwriter Dan Cowan's individual creative explorations or, rather, rediscoveries. The eponymous Dyonisos debut CD was released some ten months ago.
Analysis. I see no better way to begin this paragraph than by putting nearly the same words I've used in the review of "Headshear". This recording is covered with Pink Floyd's stamp, which automatically means "An Incidental Collection" is musically a blood brother of the previous Dyonisos album, no matter that there are no instrumentals here. Only three of the twelve tracks available, namely Reasons, Leaving Home and Permanent Disembodiment, more or less strongly deviate from the album's prevalent picture, all basically steering towards moderately heavy Space Metal with a strong Eloy vibe (think the most straightforward rockers from "Destination"), but since Dan is rarely untrue to his approach to soloing on guitar, which is modeled after the technique of David Gilmour, the comparisons with Pink Floyd are also inevitable. Two more tunes, Absolute Center Of Nowhere and Ohia Lehua, suggest something halfway between The Alan Parsons Project and you know what. While some echoes of both Eloy and The Alan Parsons Project can be heard on each of the remaining seven songs (Visions, Facing Windmills, Abstract Visions, Pasture In Kahaluu, When Silence Has Spoken, The Wave and Voices) too, it is certainly Mr. Cowan's primary passion that is a dominant force there. Not much to say about the tunes' peculiarities. Facing Windmills is the only one track with the acoustic guitar and piano brought to the fore. Abstract Visions and Pasture In Kahaluu both stand out for their sax solos, which are heavy synthetic for sure, but are delivered clearly in the Pink Floyd fashion. The largely instrumental Pasture In Kahaluu is the longest and, at the same time, most curious track in this collection (which doesn't seem to be incidental at all), sounding like an outtake from Pink Floyd's "Animals" - in a way of course. The playing here is often accompanied with cow moos, some of the guitar riffs-based moves both compositionally and rhythmically referring directly to those in Pigs, but when the 'sax' joins, the picture changes its outline for the sake:-) of Money.
Conclusion. Fans of Pink Floyd-style stuff rejoice: your day has come again. As for me, I don't enjoy music that is so heavily derivative that leaves the impression of being totally calculated - yeah, for success too. Nevertheless I must admit this recording is at least tastier than Nosound's "Sol29" and therefore less annoying.

An Incidental Collection

Angeles - Test of Time

Bitrate: 320K/s
Year: 2018
Time: 34:42
Size: 80,7 MB
Label: SR
Styles: Hard Rock
Art: Front

Tracks Listing:
 1. Not Here to Play - 3:07
 2. Hollywood - 3:08
 3. Chivalry - 3:08
 4. Goodbye - 3:52
 5. Trouble - 3:28
 6. We're No Angels - 3:01
 7. Nothing Left to Gain - 4:08
 8. Lonely Road - 2:38
 9. Here We Go Again - 3:06
10. Deliver the Goods - 2:29
11. Little Bit Faster (Remix) - 2:36

Musicians:
Vince Thriil - Vocals
Dale Lytle - Guitar
Cal Shelton - Bass
Danny Basulto - Drums

"Test Of Time" is the new album by veteran hard rockers ANGELES, one of the most long-lasting indie US rock bands out there. These guys recorded 4 albums, played countless gigs and shared stages with the greats.
All-original rock band ANGELES first started playing Hollywood, CA in the early '80s and has shared the stage with legends such as Motley Crue, Quiet Riot, Gun’s N’ Roses, Ratt, Ronnie James Dio, Bon Jovi, Michael Schenker, Dokken, just to name few. The band has played live extensively and hit quite a few milestones.
Angeles received their first Platinum record award in 2014 with their debut “We’re No Angles” (originally released in 1984) that has been played on nationwide radio stations, and play an Annual benefit show Thunder on the lot for children’s charity.
In 2016 Angeles released their “Crazy” CD featuring their single “God Country and King” with over 1 million views on Vevo.
Indie band, but with a strong following.
Listening to "Test Of Time", it's like 1987 again. They still play the Californian clubs circuit, even The Whikey A Go Go. Angeles perform with heart and refuse to give up their love of music. This is melodic glammy hard rock, with some hair metal on it.
From the start with 'Not Here to Play' there's a feel good vibe, this being this an uptempo rocker with some Twisted Sister influences. There's a solid rhythm section with defined bass / drums, fine vocals and cool guitar riffs.
'Hollywood' sounds like a Motley Crue circa Dr. Feelgood, 'Chivalry' adds some heaviness with raw vocals and darker rhythm, then 'Goodbye' is a pure melodic hard rocker with a semi-ballad tempo so common in 1988.
'Trouble' returns to uptempo hard rock with its little Keel riffs, 'We're No Angels' adds a bit of sleazy, 'Nothing Left to Gain' a bluesy atmosphere akin Cinderella, and 'Here We Go Again' (not a Whitesnake cover) is a cool rocker.
'Lonely Road' is an acoustic (with electrics) fine number, not a ballad, but a dusty rocker with nice raspy vocals.
Angeles still live like if the '80s never ended. They use leather jackets, wigs, wasted boots and play the music they love without a record label interference.
"Test Of Time" is effective, entertaining and very well recorded / produced for an indie. It's classic US glammy hard rock / melodic hard rock with a bit a sleazy, made 2018 but with the feel & sound of the era.
Note there's a digital version flating around, with cuts and noises.

Test of Time

Rastus - Steamin'

Bitrate: 320K/s
Year: 1972
Time: 61:21
Size: 141,1 MB
Label: Rhombus Records
Styles: Progressive Rock/Jazz-Rock
Art: Full

Tracks Listing:
 1. Lucy Bluebird - 6:14
 2. Lazy Kind of Day - 3:27
 3. Big City Letdown Blues - 6:50
 4. Love You - 4:27
 5. Keep on Pushin' - 3:10
 6. I-94 Riff - 5:21
 7. What Will It Take - 5:33
 8. Trying to Find Her - 3:09
 9. She Donit Need Me (Bonus Track) - 2:46
10. Warm (Bonus Track) - 3:20
11. What If I Should Stay (Bonus Track) - 3:04
12. Home Town Blues (Bonus Track) - 4:03
13. Over the Rainbow (Bonus Track) - 3:01
14. Road Rat (Live) - 6:51

Steamin' is 1970s horn rock. They sound like Chicago would have in the 1970s, had Rastus' far more famous counterpoint had not become a singles band. Steamin's tracks stick to song format - not going into the deep jazz progressivism of, say, very early Chicago. But with longer track lengths, breaks into Latin and even some out playing, Rastus made an album that worked as both commercially viable horn rock, and maintained an artistic edge. Maybe there was just too much of this out there for a band like Rastus to stand out, but Steamin' will show you they should have.

Steamin'

Il Ruscello - Paesaggio Solare (Estate 1972)

Bitrate: 320K/s
Year: 2009
Time: 30:36
Size: 70,4 MB
Label: AMS
Styles: Progressive Rock/RPI
Art: Full

TYracks Listing:
 1. Il Cielo In Un Ruscello -  9:58
 2. La Notte Di Una Citta -     3:52
 3. Il Risveglio Di Una Citta -  5:26   
 4. La Quiete -  1:27
 5. Paesaggio Solare (Estate 1972) -  7:20
 6. Orizzonti - 11:49

Here is an album that everybody will want to have in their player: Il Ruscello, a current Italian band whose members happen to be living in England. What they have done is channel all that was wonderful in the beginning of the Italian progressive rock bands.
Let's start with the band: two brothers, Silvio (guitars, drums, vocals) and Giampaolo (bass) Vavallo and Luca Harb (guitars, keys). Despite being a trio, with the layers of instruments they play, Il Ruscello sounds like a much larger ensemble.
Stylistically they are right in the middle of the beat/prog transition. The closest comparison I would make is Le Orme (except for the vocal delivery). You also hear bits of Triade, Garybaldi, and Gli Alluminogeni (the breezy keyboards and psych elements). Some of the acoustic parts are pure Le Orme. The electric pieces show some of melodic harmonies from the 2nd side of the Triade album. You also get a bit of Latte e Miele with some of the keyboards and orchestrations.
This may be one of the best retro albums in recent years. While it sounds like it came from 1972, there is also no question that it is modern. The recording techniques, some of the backing guitar lines are quite contemporary. That makes is a bit different from La Maschera di Cera who keeps the sound in the 70s. This album plays like a compilation of everything Le Orme ever did, but in one album length suite.
It is melodic, gorgeous, energetic. The singing and playing are top notch, although some of the upper registers of the vocal lines are the only weak points. But nothing we haven't heard before in Italian prog.
All I can say is this is a terrific album that needs to land in everybody's collection.

Paesaggio Solare (Estate 1972)

Chris Antonik - Chris Antonik

Bitrate: 320K/s
Year: 2010
Time: 43:31
Size: 99,7 MB
Label: Silverbirch Productions
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. More to Give - 4:43
 2. Roll with it - 3:53
 3. The King of Infidelity - 4:49
 4. If We Start from Here - 3:38
 5. Dhyana - 2:51
 6. She's a Burglar - 3:37
 7. Almost Free - 4:58
 8. Double Trouble - 4:51
 9. Reap what You Sow - 5:38
10. Persevering Kind - 4:28

Toronto-based Chris Antonik is a three-time Maple Blues Award-nominee (Canada's national blues awards) and one of Canada’s most acclaimed blues artists. Blending innovative, thoughtful songwriting with stunning blues guitar work, some music critics have drawn comparisons to Eric Clapton.
In its 2010 year-end review, Chris was named the "future of the blues" by Canada's Blues Underground Network. In 2011, Chris was nominated for Best New Artist of the Year at the Maple Blues Awards.  In 2013, his sophomore album Better for You was hailed by critics as “a masterpiece,” “the best Canadian blues-rock album of 2013,” and “the sound of someone taking the blues to a new place.”
The album spent three weeks at #1 on DAWG FM (Canada's only all blues FM station), attained significant airplay across Canada, the US and Europe, including on Sirius XM Bluesville, and was nominated for Best Blues Album by the German Record Critics’ Association. Oregon’s CascadeBlues Association called it “one of the finest releases from the Great White North in many a year.”
Chris has performed at major blues festivals across Canada, and has toured the US extensively, including performances at Buddy Guy's Legends in Chicago (for the 2015 Buddy Guy's Legends Blues Festival), and Biscuits & Blues in San Francisco. In 2016, Chris returned to Buddy Guy's Legends in Chicago, and also undertook his first UK tour, headlining the Upton Blues Festival.
On April 7, 2017, Chris released his third studio record Monarch, which completed a trilogy of self-expression started in 2010.  The album reached #1 in Canada on the Roots Music Radio Report, and was nominated for Recording of the Year at the Maple Blues Award (Chris was nominated for Producer of the Year).  Chris also received a nomination for Songwriter of the Year.

Chris Antonik

Darryl Way - Children Of The Cosmos

Bitrate: 320K/s
Year: 2014
Time: 56:42
Size: 131,4 MB
Label: Right Honourable Records
Styles: Progressive Rock/Neo-Prog
Art: Full

Tracks Listing:
 1. Children Of The Cosmos - 5:17
 2. Spooks - 4:01
 3. The Best Of Times - 4:59
 4. Nature's Way - 3:52
 5. Summer Of Love - 4:46
 6. Don't Look Back - 3:37
 7. Fire With Fire - 4:04
 8. Lagan Love - 4:38
 9. A Winter's Tale - 4:34
10. A Modern Tale - 5:24
11. An American Tale - 6:35
12. Sergey - 4:49

Darryl Way was formerly a member of the British Progressive rock band, Curved Air, but left the band after 3 albums and a hit single. (Interestingly, one of the latest reviews I submitted was the new Curved Air release, North Star.) Although sporadically returning to Curved Air when reformed at points, he has fronted his own bands, including Darryl Way’s Wolf and also released several solo works. His first solo album was released as far back as 1978, entitled Concerto for Electric Violin and I reviewed his 2013 released album, Ultra Violins, which was studio album number 8. On the
table for review is the 9th album release from Darryl, called Children of the Cosmos. The only musicians listed as being on Children of the Cosmos are Darryl Way (all instruments) and a female vocalist that is known only as Rosie, and she appears on only 1 track. The album, Children of the Cosmos comprises 12 tracks with a playing time of around 56 minutes. The penultimate track, “An American Tale,” is the longest offering at 6:35 minutes, while “Don’t Look Back” at 3:38 minutes is the shortest on the album.
The opening, and title track of the album, “Children of the Cosmos” (5:18) starts with some synths and the characteristic violin appears almost immediately before Darryl’s voice enters with some excellent vocals. The whole feel of the track is that of the vastness of space with some superb synth passages and similar violin breaks. The mastery of Darryl Way on the violin shines through continuously on this track, designed to draw the listener in with memorable little themes which the mind quickly latches onto.” Children of the Cosmos” is a gentle introduction to this release and makes you look forward to what is about to be served up. “Spooks” (4:02) is a more up-tempo, if darker sounding, track which again has little hooks within the music.
Some majestic synth passages and a feel of Ultravox/Midge Ure style about it give the song a sort of retro hint without sounding dated. “The Best of Times” (5:00) continues the up-tempo style and also highlights the synth sweeps and the violin passages, “Nature’s Way” (3:52) certainly changes the sound with a more staccato style to it but continues the melodic vocals and there are some nice acoustic guitar moments and the strings add a little grandeur to the track with the sweeping violin adding the icing.
The sound of a sitar adds another dimension to “Summer of Love” (4:46) and the track motors along with the violin interjecting little riffs in the background. The change in tempo is an unexpected twist into almost spoken lyrics which then evolves back into the original theme.
“Don’t Look Back” (3:38) is a very differently set out track with an extremely catchy staccato start and excellent vocals before the track is taken over by layered strings/synths and there is a sensation that a change is in the air. This change duly arrives with the violin which interjects a majestic classical feel to the proceedings. There is a Celtic feel to “Lagan Love” (4:38), which certainly allows the mastery of the violin to be highlighted as the track effortlessly glides along. When the strings are layered in the background, the violin takes on a more insistent tone and I found this track one of the best on the album. It is a very different “take” on the same theme that the Irish Celtic rock band, Horslips, supplied on an album in the 70’s.
There then follows a trilogy of tales, namely, “A Winter’s Tale” (4:34), “A Modern Tale” (5:24) and “An American Tale” (6:35), which are all very well performed tracks, but by this time I was beginning to detect a little bit of deja vu (of the aural variety). The closing track of the album “Children of the Cosmos,” is a nod to a classical composer “Sergey” (4:49) and is a superb chunk of classical violin.
My initial response to this album was very enthusiastic as the opening few tracks are all excellent, at least to my mind, but there was a point where the tracks seemed to lose their uniqueness and started to sound like earlier sections. Several listens has simply confirmed this feeling of “an album of two halves,” whereby, while the opening section remains exciting and excellent music, the excitement wanes towards the latter tracks.
Having reviewed Darryl’s last release, Ultra Violins, and given 3.5/5 stars, I certainly find this release, Children of the Cosmos a step above that, having thoroughly enjoyed part of the album. It is unfortunate that the superb level of the earlier tracks drop off a little towards the end. This is an album that I will dip into again and again as there is some amazing material on show.
As I always try to point out to readers of my reviews, it is a very personal view and I encourage people to get hold of the album in question and give it a fair hearing, as you might feel differently about it.

Children Of The Cosmos

Ashford Gordon - Somewhere Down the Line

Bitrate: 320K/s
Year: 2000
Time: 40:04
Size: 91,8 MB
Label: Vulcan Rising
Styles: Blues/Electric Blues
Art: Front

Tracks Listing:
 1. Louise - 2:42
 2. Out on the Pier - 4:00
 3. Not Another Fool - 4:51
 4. Heartache and Breakup - 4:14
 5. The Boss is Always Smiling - 3:34
 6. Alabama Blues - 5:08
 7. Jerry Ain't Around - 4:19
 8. Mrs. Parker's View - 2:47
 9. Somewhere Down the Line - 4:09
10. Low Pressure - 4:15

A singer-songwriter gifted with a ringing baritone-bass voice, Ashford Gordon has appeared with various artists nationwide over the past three decades including the late Louisiana "Guitar" Red, his mentor, Joe Houston, Eric Burdon, Roy Gaines, Robert "Jr." Lockwood and Jackie Lomax, the first artist signed to the Beatles Apple Records label.
Ashford has been favorably compared to Robert Cray and as a writer offers a contemporary take on electric blues. Owing to his living in Northern California for more than 20 years, his music has some of the flavor of both San Francisco and Santa Cruz. Ashford’s most recent CD, “Planetary Man” on the Surprise Truck label, is a collaboration with his son, Gabriel Gordon, world-class rock guitarist and vocalist best known for his work with Natalie Merchant. The apple in this case has not fallen far from the tree in that Gabriel Gordon signed with German label, Soular Records and has released “Overwhelmed” in Europe to critical acclaim.
All three Ashford Gordon studio CD’s, “Nothin’ But Trouble”, “Somewhere Down The Line” and “Planetary Man” are now all available through iTunes.

Somewhere Down the Line

Huminoita - All Is Two

Bitrate: 320K/s
Year: 2015
Time: 39:32
Size: 90,6 MB
Label: Luova Records
Styles: Progressive Rock/Psychedelic/Space Rock
Art: Front

Tracks Listing:
 1. The Sheriff -  6:53
 2. Hymn 23 -  5:26
 3. Goliath -  5:18
 4. The Pilgrim -  6:25
 5. King of Hearts - 10:43
 6. Hymn 24 -  4:44

Musicians:
Ville Makarainen - guitar, flute, vocals, synth;
Timo Keranen - guitar, percussion;
Ville Makinen - bass;
Matti Salo - saxophone, keyboards, vocals, synths;
Jonne Ketola - drums.

guest musicians:
- Laura Lehtola / voice (1,4,6)
- Oula Karppinen / saxophone, trumpet, sopramino (5)

Huminoita is a music collective from Oulu, Finland. Basically they are playing psychedelic/space rock with a shot of post, stoner and jazz, the latter due to some saxophone attendance.
This album is yet another proof of the overlapping nature of genres. All is Two mixes rock, metal and even jazz and finds new musical dimensions with each layer. The band does not twiddle. Its music has always been about wide strokes - the drums, the bass and the electric guitars build momentum, and the wind instruments and the chanting vocals raise the songs to their eloquent zeniths.

All Is Two

Renato Moretti - Sequenze

Bitrate: 320K/s
Year: 2018
Time: 36:40
Size: 84,8 MB
Label: Self Released
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. I - Overture - 6:18
 2. II - Il Gioco Delle Parti/Alba - 3:18
 3. III - Il Risveglio/Mattina - 4:43
 4. IV - La Danza Del Sole/Mezzogiorno - 3:53
 5. V - Il Gioco Delle Parti Reprise/Pomeriggio - 3:45
 6. IV - Luce Rossa/Tramonto - 4:54
 7. VII - Passaggio/Crepuscolo - 2:38
 8. VIII - Dormirai/Sera - 5:05
 9. IX - Fine Di Ogni Cosa/Notte - 2:02

Musicians:
Renato Moretti - All Instruments, Vocals.

I've had the chance to listen to a couple of excellent 70's inspired prog rock albums this week and Sequence by Italy's Renato Moretti is one of them. Not surprisingly in this case the influence comes from the great Italian bands, and PFM is the group that comes to my mind when I listen to this very good album.
Sequence is a nine parts concept album that touches on various styles (and even musical genres), but this while always keeping a common thread from beginning to end. Moretti plays all instruments and he is more than competent on each one. He also tackles lead vocals in nice fashion. The near 40 minutes oeuvre is captivating from beginning to end and I'm always tempted to start it up again when it's done.
Sequence by Renato Moretti does certainly have its place beside the better albums by PFM, Banco or Le Orme. It's that good.

Sequenze

Strangefish - The Spotlight Effect

Bitrate: 320K/s
Year: 2018
Time: 62:13
Size: 142,6 MB
Label: Self Released
Styles: Progressive Rock/Neo-Prog
Art: Front

Tracks Listing:
 1. Death of Common Sense -  3:41
 2. Progress in Reverse -  8:38
 3. Iconacon -  8:23
 4. Summer Slips Away -  5:04
 5. Delicate - 17:56
 6. Spotlight Effect -  9:38
 7. Reverse Switch -  2:29
 8. Up to You -  6:22

Musicians:
Steve Taylor - vocals
Jo Whittaker - vocals
Bob - guitar
Carl Howard - bass
Paul O`Neill - keyboards
Dave Whittaker - drums

Having a harder and at times darker feel to its 2006 predecessor `Fortune Telling`, `The Spotlight Effect` has the different aspects of the human condition as its overriding theme. It focuses on the media-driven world we find ourselves in today, where every move we make is analysed then picked to pieces. There`s nothing sacred anymore; all things are considered fair game for an `entertain-me` hungry audience.
Manchester prog rockers Strangefish will release their first new album for 12 years with The Spotlight Effect on June 18.
The band have effectively been on hiatus following the release of their second album, Fortune Telling, in 2006. However they have returned with two new band members, vocalist Jo Whittaker and bassist Carl Howard joining vocalist Steve Taylor, guitarist Bob, keyboard player Paul O'Neill and drummer Dave Whittaker.
"Following a long hiatus away from the scene, the band has returned with a new lineup and their first new collection of songs in almost 12 years," the band told Prog. "Having a harder and at times darker feel to its 2006 predecessor 'Fortune Telling', The Spotlight Effect has the different aspects of the human condition as its overriding theme. It focuses on the media-driven world we find ourselves in today, where every move we make is analysed then picked to pieces. There's nothing sacred anymore; all things are considered fair game for an 'entertain-me' hungry audience."
The band have made the title track available on their Soundcloud page which you can hear below. The Spotlight Effect can be pre ordered from the band's website.

The Spotlight Effect

Il Cerchio D'Oro - Il Fuoco Sotto La Cenere

Bitrate: 320K/s
Year: 2017
Time: 48:06
Size: 111,0 MB
Label: Black Widow Records
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. Il Fuoco Sotto La Cenere - 9:20
 2. Thomas - 9:31
 3. Per Sempre Qui - 5:43
 4. I Due Poli - 7:08
 5. Il Fuoco Nel Bicchiere - 5:43
 6. Il Rock E L'Inferno - 5:29
 7. Fuoco Sulla Collina - 5:09

Il Cerchio d'Oro is an Italian prog band that was founded already in 1974 but which didn't manage to sign a recording deal at the time. To the pleasure of all progheads enjoying the retro-style symphonic Rock Progressivo Italiano, the band re-activated in this millennium and has now released four well-received albums. This latest release is my first acquaintance, and it actually took a while before I really realized how good album it is. Perhaps one could say that they "play safe" and therefor sound more or less like a connoisseur of the genre would expect. But no complaining, as long as it sounds so good. The title of the album (and the opening track) means The Fire Under the Ashes; the lyrics are printed both in Italian and in English. The very dynamic opener serves as a perfect example of the band's strengths. After a nearly four-minute instrumental intro enter the vocals, for the most part done in harmonies. By the way, there is no separate vocalist, and also the composing credits are divided between several members, e.g. keyboardist Franco Piccolini and bassist Giuseppe Terribile. This democratic approach sort of describes the music, which is rather free of the most self-indulgent features but always maintains the power and passion.
The group sound, served with those mentioned vocal harmonies, is warm and retro-ish. Lots of various analog keyboards (organ, Mellotron, etc), electric and acoustic guitars, and a tight rhythm section, all delivered with excellent production. The expectable British vintage influences such as ELP, Genesis, early King Crimson & Yes, and slightly also Uriah Heep, are there, but never in a downright derivative way. The compositions, all between 9? and 5 minutes in length, are both melodic and full of symphonic prog dynamics, without going into distinctive multi-part epic direction or towards fancy drama a la Nursery Cryme -era Genesis. This music might be suitable for introducing prog rock to a non-connoisseur, not too demanding in that matter.
The whole 48-minute album is nevertheless pretty strong all the way. None of the seven tracks is weak, but perhaps the music gets slightly closer to mainstream rock on the two final 5-minute songs 'Il Rock e l'Inferno' (Rock and Hell) and 'Fuoco sulla Collina (the only one missing its lyrics in the leaflet), but they still sound proggy and contain some instrumental solos. The fifth song 'Il Fuoco nel Bicchiere' (The Fire in the Glass) is the slowest in tempo, and amidst the lyrics about alcohol-fuelled moarning for a lost love there are beautiful passages for various keyboards.
If there were also special instruments such as flute, violin or whatever to add pastoral ingredients to the sound, I'd enjoy the album even more. I'm very close to give a full rating; maybe this album slightly lacks originality and great surprises, but it's a guaranteed pleasure to the friends of symph-oriented RPI.

Il Fuoco Sotto La Cenere

Metrognom - Twangyluck

Bitrate: 320K/s
Year: 2006
Time: 64:21
Size: 147,6 MB
Label: New Personal Records
Styles: Progressive Rock/Eclectic Prog
Art: Full

Tracks Listing:
 1. Max Planet (incl. the sudden turbulent landing procedure) - 13:58
 2. Ten Peppermint Butterflies in a Ray of Moonlight - 14:00
 3. Opening Ceremony to the Trolls' Seventeenth Olympic Games - 14:51
 4. Tellus Will Tell Us Its Will - 21:31

Musicians:
Ole Ivar Joregensen - Guitars, Mellotron, Theremin, Sax squeals, Mini Moog, Sound FX, Words;
Kriss Sternland - Hammond organ, Piano, Mini Moog, Synthesizers;
Arne Wikstrom - Saxophone, Akai synstesizer Woodwinds;
Steffan Hunstad - Bass;
Stig-Rune Holien / Drums, Percussion.

Norwegian act Metrognom released in 2006 a special prog gem that is yet to be properly discovered by prog audiences worldwide. "Twangyluck" shows an instrumental ensemble capable of displaying tireless punch and consistent cohesion all thorugh its jams and expansions: these expansions harbour a resurce for development of the msuical ideas, which at times are taken to energetic levels, at times translated into atmospheric textures. The band's overall sound is based on a confluence of diverse influences such as Anekdoten/Landberk, "Mountin Grill"-era Hawkwind, 75-76 era van der Graaf Generator, the harsh enthusiasm of proto-prog, the jazzier side of old KC, and even the dreamy melancholy of post-orck at its fiercest level (a-la Explosions in the Sky). The group manages to keep things pretty intense without letting the melodic instruments (lead guitar, sax, synthesizer) indulge themselves in excessive complexities. The sax interventions are the most jazz-related items found in Metrognom's travels; these interventions add a special dynamics between the solid guitar riffs and the eerie synthesizer lines. The lack of pyrotechnics allows the rhythm duo to surface notably in the mix, and that's a very good thing, since their labour at sustaining the band's sound across the mood and rhythm shifts indicated in the compositions happens to be pertinetly featured for the listener's ears and mind. Not unlike many Scandinavian bands, Metrognom flaunts the presence of vintage keyboards such as the Mini-Moog, the Theremin, mellotron, and of course, the Hammond organ. The opener 'Max Planet (incl. The Sudden Turbulent Landing Procedure)' gets started with a semi-robotic speech, very Hawkind-esque, which announces the 6/8 main motif. This motif is a full frontal homage to Genesis' 'Watcher of the Skies', as if it had been performed by a combination of musicians from Landberk and Anekdoten with special guest Tim Blake. Its hook is appealing enough as to serve as the perfect introductory sampler of Metrognom's musical vision, but it is also the least impressive piece of the album. Regarding the handling and link between variations, any of the other three tracks is more accomplished. 'Ten Peppermint Butterflies in a Ray of Moonlight' kicks off wit ha succession of alleatory sounds of instruments getting attuned, when suddenly the full band explodes into the main motif, carried awya by the lead guitar in a solid fashion while the half-cosmic, hal-fcreepy keyboards exorcise ghosts from old albums by Eloy and Novalis. When we get to the slow section, we find an extended momentum of ceremonious moods filled with a moderate sense of mystery - teh acoustic guitar hums and mellotron layers provide a mesmeric background for the sax solos and synth adornments. With the return of the main motif, Metrognom recaptures its rougher side, even taking it to a perticularly enhanced dimension due to the addition of jazz-rock inspired cadences. The coda of acoustic guitar and distant synth creates a second unexpected climax after the rocking climax that preceeede it. Track no. 3 bears the funny, extravagat title 'Opening Ceremony to the Trolls Seventeenth Olympic Games'. Here the band again explores the musical trends exposed in track 1, albeit with a more intense dynamics and a higher accomplishment of complex arrangements and creative arrangements. There's also room for soem delightful acoustic passages, which build on the band`s introspective side. The irruption of a harsh motif feels very pertinent in a dramatic viewpoint, elaborating a sonic storm as a kind of bridge between the acoustic section and the following electric portion. The album's final 21 ? minutes are occupied by 'Tellus Will Tell Us Its Will', whose intro reveals a marriage between delicate sprinkles and creepy breezes. The initial motif is languid, very much like a Sigur Ros-esque reconstruction of PF's 'Echoes'. When the frantic episodes arrive, we're treated with yet another dose of typical Metrognom psychedelia that we've grown used to. The alternation between fast and slow section is very well managed. The jazz factor is more pronounced than ever before, reminding us of Colosseum or Lady Lake. Well, all things considered, "Twangyluck" is a refreshing example of new music patently rooted in the old, a muscular combination of retro-prog and modern psychedelia. Metrognom just has to be paid attention to, since their music is excellent.

Twangyluck

Contrappunto - Subsidea

Bitrate: 320K/s
Year: 1998
Time: 52:00
Size: 120,1 MB
Label: Progressive Rock Worldwide
Styles: Progressive Rock/RPI
Art: Front

Tracks Listing:
 1. Overflow - 6:25
 2. In The Silence - 6:31
 3. She, God Bringer - 7:00
 4. Right Of Life - 5:55
 5. Nevermind - 3:39
 6. Memories - 7:32
 7. Not To Forget - 6:03
 8. Farewell - 4:48
 9. Bad Choice - 4:02

Musicians:
Sara Arrigone - vocals and backing vocals;
Andrea Cavallo - piano, keyboards and synthetizers;
Sebastiano Di Paola - electric and acoustic guitar;
Roberto Picardi - bass;
Christian Mont Anarella - drums and cymbals.

Italian band led by keyboardist Andrea Cavallo.Andrea was also the vocalist of the band in the beginnings back in 1995,which started as a quartet in Torino,where the band succeeded some radio airplay.Soon the original guitarist would leave the band to be replaced by Sebastiano Di Paola and female singer Sara Arrigone,so that Andrea had plenty of space to focus on his keyboard work.Contrappunto recorded two demos,''Soundscapes'' and ''Mini mood'',performed intensively around the Piemonte area,thus giving birth to their debut ''Subsidea'' in 1998 on Progressive Rock Worldwide. The album is a mix of keyboard-driven modern Symphonic Rock with Electronic hints here and there,filled with long instrumental passages,Classical piano-centered references and crystalline vocals by Sara Arrigone (with English lyrics all the way).''Subsidea'' balances constantly between an aggressive face with heavy guitar playing and vocal-based soft passages with piano lines,between melodic, dreamy passages and complex parts with a bombastic sound,between furious catchy grooves and technical soloing.The compositions are on a good level with a good blending of symphonic arrangements and rock aesthetics.The floating synths of Carvallo are great,not to speak of his compositional skills,the solos and riffs of Di Paola are more than decent and Sara prooves to be a fine singer with no mistakes.Italian compatriots PRESENCE are a good comparison. ''Subsidea'' was a nice entrance for Contrappunto in prog discography.While the album has not really anything new to add to the subgenre,it remains a great and pleasant listening for anyone into the Symphonic Rock sound or for die-hard keyboard fanatics.Recommended.

Subsidea

Contrappunto - Lilith

Bitrate: 320K/s
Year: 2001
Time: 50:41
Size: 116,6 MB
Label: Progressive Rock World Wide
Styles: Progressive Rock/RPI
Art: Full

Tracks Listing:
 1. Moon -  9:00
 2. Far From Here -  5:28
 3. New Day -  4:04
 4. Time: 1st Time -  4:27
 5. Time: 2nd Time -  1:00
 6. Don't Wake Me Up -  7:29
 7. Fantasia Pour Le Piano -  5:39
 8. Dive In Yourself - 13:31

Musicians:
Adelaide Loru - vocals;
Andrea Cavallo - keyboards;
Sebastiano Di Paola - guitars;
Denis Fiori - bass;
Denis Militello - drums.

Second album from this neo progressive band that shows, at the same time, interesting and some weak points. CONTRAPPUNTO's sound is based on keyboards (specially piano) and a female voice potentially very good, but not really expressive. Rythmically, music isn't very complex, going from jazzy tunes to classical approaches, including some soft blues soundscapes. The album isn't bad, with nice atmospheres and relaxing moments, but there's a lack of melodic line and playing isn't the best: i.e., keyboardist seems to sail between Rick Wakeman and Richard Clayderman beside the above mentioned singing style.Among contemporary Italian bands, CONTRAPPUNTO isn't the winner, but worth a listen and -if you don't looking for the most elaborated music- "Lilith" has enjoyable moments.

Lilith

Vulgar Unicorn - Under The Umbrella

Bitrate: 320K/s
Year: 1995
Time: 60:01
Size: 137,4 MB
Label: Cyclops
Styles: Progressive Rock/Eclectic Prog
Art: Full

Tracks Listing:
 1. (i) The House At Fudge Corner - 13:21
 2. (ii) By Post-Chaise To The Primrose League - 12:40
 3. (iii) Waiting Under The Umbrella - 18:20
 4. Thief Of Clubs - 15:38

Musicians:
Neil Randall - keyboards, bass, back vocal;
Adrian Soord - guitars, back vocal;
David Hutchfield - drums.
GUESTS:
Tony Busby - lead and back vocal;
Matt Barge - trumpet;
Greg Willis - alto, tenor sax;
Richard Hunt - violin.

Alors que Vulgar Unicorn a pondu en 1995 l’un des plus trepident album de rock progressif : "Under The Umbrella" n’eut pas en son temps la reconnaissance qu’il meritait. Nous esperons donc rendre la flamboyance a ce combo detonant qui fit paraitre 5 albums en 9 ans dont 2 sous des noms d’emprunt (Persona Non Grata et Divadroid International). Non content de brouiller ainsi les cartes, le groupe contient en son sein un membre qui fera parler de lui des les annees 2000 avec sa propre formation : Pineapple Thief. En effet, Bruce Soord etait le guitariste de Vulgar Unicorn meme si le propos de ce dernier n’est pas franchement dans les lignes de fuites de PT, Vulgar Unicorn ayant plutot ete l’apotre d’un rock progressif experimental organise faisant feu de tout bois en utilisant nombre d’instruments tout en croisant nombre de styles. "Under The Umbrella" a certainement eu la malchance de paraitre a une periode ou le neo-progressif grandiloquent des Shadowland, Arena ou autres Landmarq etait a son apogee. Pourtant edite par un label de qualite, le combo n’eut pas la tache facile pour sortir du lot, mais a l’ecoute de cet opus, il est evident qu’il est preferable d’apprecier le progressif dejante et plus complique d’acces necessitant plusieurs ecoutes que la facilite des groupes precites.
Alors, qu’est-ce qui fait que "Under The Umbrella" recolte une aussi bonne note ? Eh bien, la configuration des lieux dans un premier temps -2 titres pour une heure- et la qualite des compositions. Le titre eponyme se trouve toutefois scinde en trois epiques, pour la forme pourra-t-on dire, puisque ces 3 suites sont irremediablement liees entre elles et ne sont en rien differentes. Tout au long des (presque) 45 minutes se croisent et s’entrecroisent des atmospheres tantot jazzy, tantot progressives, portees au paroxysme avec une ligne conductrice lovee dans un soucis permanent de la qualite et de la coherence des themes (ce qui nous fait dire que ceux qui apprecient les dernieres livraisons de Phideaux devraient y trouver leur compte). Des instruments inhabituels font ainsi leurs apparitions (saxophones, violon et trompette) et interviennent a propos par touches plus ou moins longues extremement bien choisies (a l’image de Gazpacho avec son "Nights").
Les textes sont soigneusement chantes par un invite (au nombre de quatre puisque seuls Neil Randall, Bruce Soord et Dave Hutchfield sont credites comme membre du groupe) qui n’est pas forcement le meilleur des intervenants possible a ce poste mais qui y met une generosite et une tension chaleureuse bienvenue. Le dernier titre (disponible en bas de cette page) est base sur un developpement progressif finissant tout en puissance par un solo de guitares electriques incontrolables et puissamment efficaces. Difficile de ne pas remettre le couvert a l’issue de l’ecoute ! Par contre, le blanc de 4 minutes (avant un bref instrumental syncope) situe a la fin de cette composition pourra etre qualifie d’inutile au regard du restant de la livraison.
"Under The Umbrella" est un pan monstrueux du progressif des annees 90 et ne manquera donc pas de plaire a tous les amateurs de cette epoque pour peu qu’ils apprecient les longues compositions a dimensions variables. Comme les bons vins, cet opus se bonifie avec le temps prouvant que, si certains groupes de notre epoque apportent effectivement de nouvelles ambiances, il etait possible de le reussir bien auparavant. Un indispensable pour toute bonne CDTheque !

Under The Umbrella

TumbleTown - Never Too Late

Bitrate: 320K/s
Year: 2018
Time: 55:56
Size: 128,4 MB
Label: FREIA Music
Styles: Progressive Rock/Crossover prog
Art: Front

Tracks Listing:
 1. Prelude -  2:00
 2. One Giant Stage -  5:00
 3. Avalon -  5:32
 4. Do Not Leave Me Now -  6:04
 5. If I Should Meet You -  4:50
 6. Transatlantic - 11:10
 7. Do as They Do -  2:46
 8. All Because of Me -  8:22
 9. Never Too Late -  5:36
10. Tumble Town -  4:35

TumbleTown is a project by Han Uil (Seven Day Hunt, Antares and solo works), Aldo Adema (Egdon Heath, Seven Day Hunt) and Erik Laan (Silhouette). A collaboration between three skilled old dogs in the progressive rock scene.
Aldo and Han both played together in Seven Day Hunt, a continuation of Egdon Heath. The 2008 debut release 'File This Dream' was hailed by the press as 'the album of the year has come early' (Progwereld) and 'vette krent' (iO pages).
Aldo and Han left Seven Day Hunt in 2009. Aldo wanted to concentrate more on studio recording and production work. Aldo co-produced and mixed the two Silhouette albums ‘Across the Rubicon’ and ‘Beyond the seventh wave’.
Meanwhile, Han recorded and produced his second solo album 'Dark in Light' (2010). Han and Aldo co-operated on one song of this album 'Memento'. Because this successful cooperation, they both decided to start a new studio project. TumbleTown was born.
TumbleTown's debut album ‘Done with the coldness’ had been released by FREIA Music, a Dutch independent music label in June 2013.
The album is a brilliant mix of progressive and mainstream rock. Influenced by artists like; Steve Wilson, Karmakanic, The Beatles, Marillion, Jethro Tull, Spock's Beard, Peter Hammill and David Bowie.
The album features guest appearances by Erik Laan on keyboards, Marcel Copini (Egdon Heath & Seven Day Hunt) on bass and Carola Magermans (Seven Day Hunt) delivered a vocal contribution.
In 2015 Han released his third solo album ‘Lawless local heroes’. Shortly after, Aldo and Han decided to record a second album. During the production of the album, Silhouette keyboardist Erik Laan joined TumbleTown as a member. And then there were three!
The new album ‘Never too late’ will be released by FREIA music and features ten adventurous songs powered by the solid drums of musical guest and Erik’s son, Arjan Laan (Skylake).

Never Too Late