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Last 50 reviews
Studio Album, 1971
3.45 | 35 ratings

Ardo Dombec
Ardo Dombec Eclectic Prog

Review by Mellotron Storm
Prog Reviewer

ARDO DOMBEC released this sole studio album back in 1971, they were from Germany and they were a four piece of guitar/vocals, bass, flute/sax and drums. Sax is fairly dominant on here much more than the guitar or flute that do solo also. The vocals are okay and in German and the album cover is a waste. The music just isn't memorable at all to me. I was going to say it's vanilla but that's my favourite ice cream and this album is not something I actually like. Had to laugh at the 8 second track called "Oh, Sorry" that features experimental noises before a scratch sound then he says "Oh, sorry". No top tracks for me on this one. As I said the guitar isn't as out front as I'd hoped but we get a cool solo a minute in on "Supper Time" and then on the closer a surprising guitar solo 4 minutes in where he lights it up. Some harmonica on "Down-Town-Paradise- Lost". Some fast paced vocals too at 2 1/2 minutes. Others have mentioned and I have to agree that this album sounds more like Proto-Prog than Krautrock. So a low 3 stars for this one.


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Studio Album, 1974
4.41 | 2847 ratings

Camel Symphonic Prog

Review by LedFlanders

Just having recently discovered CAMEL, or for that matter, i can't recommend this band enough, and Mirage is a fantastic start. My favorite off the album is Nimrodel, with Lady Fantasy and Supertwister coming in close second. It took a couple listens to get used to the other tracks, but the patience is well worth it. There's just a lot going on, and a couple listens to process it is exactly what I needed. The flute work by Andrew Latimer is incredible, and i can't get over how good the bass playing is either. I'm still new to prog, but I would recommend this to anyone who likes some like, say, Jethro Tull. 10/10


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Studio Album, 1999
3.28 | 19 ratings

Wings of Time
DGM Progressive Metal

Review by DangHeck

Progressive/Symphonic Power Metal hailing from Italy, their second release (1999). The first thing I want to note, before getting into my general feelings about this album, is that the musicianship of DGM is certainly great. Now, where I find much of the album wanting is compositionally. Sure, everything is well performed, from guitars to drums to vocals. But quite a few of these tracks were only "good" because of the musicianship, not because the tracks were particularly exciting or interesting (looking at the tracks individually using the PA rating system, nearly half of them wouldn't make it to a 3 in my book, and that certainly sullens my overall rating).

Much of the album frankly isn't overly interesting at all. Soloing, as I'll mention for the standout track, is the clear strongsuit of the band. At this point, providing the listener with something progressive and/or surprising does not seem like a super primary objective. I'm not saying any of the tracks are actually bad, but of course this is Prog Archives and not... uh... "Songs... Archives"? Ha!

Without further ado, we have track 7, "A Drop of Shadow," the certain standout on the album. Finally, some rhythmic complexity, great soloing (including some tasty sax), and a classic sound (with melodies reminiscent of Iron Maiden—hell, even their vocalist has a voice at times reminiscent specifically of Bruce). Mostly a standout because everything else just sort of blends together on this album... and therefore...

True Rate: 2.5/5.0 FFO Dream Theater, Symphony X, Evergrey, Darkwater


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Studio Album, 2013
4.11 | 19 ratings

Anna von Hausswolff Crossover Prog

Review by Gallifrey

Listening diary 18th June, 2021: Anna von Hausswolff - Ceremony (ambient/art pop, 2012)

I can definitely see a time now when Anna von Hausswolff reaches within my top 5 favourite artists of all time. This is the fourth record of hers I've spent significant time with over the last year or so, and all four have ended up in the ascendancy. They're all unique, well composed, well produced and find an incredible middle ground between conventional pop songwriting and art school melodrama. Of the four, this is the pop album, with the fewest guitars and the most low-key songs, with Anna focusing on the texture of the organ and the melody of her voice. And even though her heavy moments are amongst the best of the other albums, you barely notice their absence here, as the songwriting is just that high a level.

8.2 (8th listen)

Part of my listening diary from my facebook music blog -


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Singles/EPs/Fan Club/Promo, 2020
4.04 | 14 ratings

Glimpses from the Story of Mr. Bogd
Ritual Crossover Prog

Review by GUDAVO Radiator Cooling Fan switch Thermostat Sensor replacement

The year 2020 was brilliant for prog. Bands that were thought to be lost are reappearing. Musicians are forced to have more time to work on new material. The Swedish band Ritual is back with an EP with 4 tracks after 13 years. Even better, Lundstr�m and colleagues have two more regular albums in prospect. Fedrik surprised the rest of the band after the 2009 tour with the idea and story for a concept album. The colleagues liked the story and of course the idea of a concept album.

The Swedish formation is still active in the same line-up, namely alongside Lundstr�m, his colleagues Jon Gamble (keyboards, harmonium, harmonica, vocals), Fredrik Lindqvist (bass, bouzouki, mandolin, flute) and Johan Nordgren (drums).

Ritual frontman Patrik now lives two hours outside Stockholm, the obligatory break and the unusually difficult task of writing music for an existing story explain the long waiting time for fans. There will be two historically connected albums, of which this EP gives a representative outlook. The story is about the fictional Mr. Bogd who goes in search of the meaning of life.

Musically, "Glimpses from the Story of Mr. Bogd" shows that the multi-instrumentalists Ritual have not forgotten anything. Their typical rousing Progrock with a lot of acoustic guitar, folk elements and a good pinch of bombast rock speaks to me again immediately. But the fan doesn't have to do without complex solo parts either, you can hear the Gentle Giant-inspired guitar duet in "Chichikov Bogd". "Mr. Tillys Gang" give us a waltz that seems very weird and avant-garde. After the quieter "The three Heads", "The Mice" combines all of Ritual's virtues, extremely varied and dramatically designed with all the strengths that have already distinguished ritual in the past.


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Studio Album, 2019
3.87 | 131 ratings

Isildurs Bane & Peter Hammill: In Amazonia
Isildurs Bane Symphonic Prog

Review by Staron Oversized Coat Jacket for Women Fuzzy Fleece Lapel Open F

It's a short album. And with its 40 minutes, it is just really long. A small universe to immerse yourself in, which challenges the listener in its own way and dismisses them with a feeling that rarely arises due to the length of many publications. Astonish. Astonishment on the one hand that the record is already over and on the other hand amazement that you want to listen to the record again immediately.

Let's start with Peter Hammill. He impro-sings in the way he has been singing for many decades. Are those real melodies at all? They are hammillodies. Melodic chant. Not as radical and aggressive as it used to be. But unique and distinctive in its intonation. Hammill has become softer. And does not lose anything of its typical characteristics and fascination. His voice always remains dramatic, onomatopoeic, theatrical and expressive to manic. And yet always melodic and pleasant.

And Isildur's Bane? The Swedes already showed in their collaboration with Marillion singer Steve Hogarth in 2017 that they can perfectly align their music to a singer, his voice and his style without throwing their own characteristics overboard. In the interplay with Hammill, her music turns out to be a little more experimental than with Hogarth. Electronics, trumpet and woodwinds, strings and band ensemble merge into a dense sound fabric, which at times acts surprisingly rhythmically.

Band boss Mats Johansson had already composed most of the music before Hammill had access to this material. He had to improvise accordingly and his skill with this album lies in the fact that he had to find the right sections to which verses or choruses (if you can even call them that here) fit. In Amazonia is more than varied. Driving electronic pieces can be found next to majestic piano tracks and thus form a wonderful symbiosis of electronics, modern classical music, contemporary jazz elements - let's call it "art rock" for the sake of simplicity.

Overall, the collaboration sounds very exciting and very fruitful for both sides. You get a wonderful, artistic and artful album, colorful and atmospheric. A stroke of genius.


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Studio Album, 2021
4.24 | 15 ratings

Isildurs Bane & Peter Hammill: In Disequilibrium
Isildurs Bane Symphonic Prog

Review by ZEFOTIM High Waisted Flare Jeans,Women Summer Elastic Plus Loose

Isildurs Bane & Peter Hammill present one of the big albums of this summer. As expected. Because this artistic connection is what is called a match made in heaven, and already their first album "In Amazonia" turned out to be the expected sensation after it was eagerly awaited. A unique universe, and a stroke of genius.

The music is - again - almost inescapably atmospheric. A hypnotic stream of partly electronic keyboard sounds and distorted guitars, vibraphone and marimba, strings and wind instruments and, in their presence and absence, equally dense, sometimes even pathetic percussion. The dynamics range from loud aggressiveness to the darkest silence, without losing intensity in these transitions. The force of this album should not be underestimated, the compelling immediacy of the music is immense.

The integration of the two ensembles Isildur Bane and Peter Hammill works so perfectly again, the fusion so seamless that you almost forget that both can exist separately. Isildur's Bane bring in all their style elements, from art pop and prog to neoclassical and avant-garde, Hammill on the other hand, always open to experimentation, contributes his idiosyncratic, exalted vocals, ranging from crude spoken word performances to "neat" singing.

For all its force, "In Disequilibrium" also offers numerous quiet passages in which the band and singers do not hesitate to play extremely lyrical music. However, those involved always manage with ease to never let such moments turn out to be trivial. They maintain the intensity of their music even then, be it through an idiosyncratic melody, an instrument that subversively undermines the harmony, or through an exciting arrangement that sometimes allows sharp tonal contrasts to clash.

Isildurs Bane and Peter Hammill are brilliant at merging these sometimes quite heterogeneous elements into a surprisingly homogeneous music that can only arise if the participants bring a high level of skill and experience with them. Far from the usual attempts to create similar atmospheres with the help of studio technology, noise and mere sound design, Isildurs Bane and Peter Hammill create moods between melancholy, anxiety, fear and darkness through musical means alone. The fact that it is possible to create all these different atmospheres without much studio trickery is evidence of the compositional and playful skills of all those involved. The result is a wonderful album full of graceful feelings, majestic pathos and compelling discomfort, which always sounds unusual, always close to the borderline between rock and art.


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Studio Album, 2015
3.68 | 51 ratings

L'Era Della Menzogna
Delirium Rock Progressivo Italiano

Review by Baitaihem 2 Pairs Universal Multimeter Test Leads Digital Multim

Delirium, a Genoese band (in which Ivano Fossati also played) born in the late sixties, need no introduction: standard bearers of Italian prog and capable of giving epic pages during the seventies have been able to resume that story interrupted since 1996 thanks to three of its former members: Ettore Vigo, Pino di Santo and Martin Grice. The latest result of this adventure is "L'Era Della Menzogna".

The work, released thanks to the collaboration with the independent label Black Widow of Genoa, is clearly inspired by the whole background that Delirium represent: it presents itself in the typical guise of a concept album, as was customary in the gold years of the progressive music, it puts in the foreground all the typically intertwined multi- instrumental language and is animated by a never tame desire to go against the tide. Obviously the whole production format is more than just an album. We are in the field of excellence in terms of instrumental technique and social storytelling. Of course, the catalyst element is free expression with sound architectures that are very often similar to real jam sessions, with consequently lengthened pieces and oversized playing time.

The sound of the keyboards, often in the foreground, gives the melodic line on which they build their sound with all the other instruments: from the guitar, to the bass, to the sax, to the transverse flute. Splashes of Jazz, funky, psychedelia are caught here and there in the various tracks, where the most successful pieces are still those that are projected on a purely progressive terrain such as La Deriva, L'era della menzogna and Il Castello Del Mago Merlino. L'era della menzogna is a fully instrumental track. A break of class and pathos that creates a very effective web and makes the entire product cohesive. The title track is perhaps, with its execution and groove, the best piece of the entire album with a six-handed chorus and sax solo ready to ignite a jam session atmosphere in the studio. A decisive imprint for a refined melodic construction with a strong and lively refrain. A long hatch with fairytale tones is instead, in a nutshell, the plot of Il Castello del Mago Merlino a surprising cocktail of delicacy and grit with the guitar and the flute in the foreground.

To conclude, it is quite clear how much this work once again reveals a lot of art and craft as well as flashes of absolute talent.


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Studio Album, 2021
3.38 | 6 ratings

Sotto il segno della lampreda
Il Buco del Baco Rock Progressivo Italiano

Review by Fissler Magic Accessories Garlic Press, Stainless Steel

ll Buco del Baco was born in 1970, founded by the drummer Carlo Mastrangeli and the flutist Furio with Gianni De Scalzi on bass and Gaetano Trionfanti on guitar. Later Daniele Graziani plays the hammond organ and, eventually Fabrizio Nocenzi took over the piano.

A band of musicians, who escaped an unlikely plane crash awakened from a cryogenic sleep after being hibernated in an iceberg? "Sotto il segno della lampreda" is the name of the album proposed by the band, a concept that will lead us under the mysterious seabed, among anemones, corals and abyssal creatures in search of the "Great Lampreda". Much sought after and appreciated in the Middle Ages and now very rare, the lamprey is a marine creature with archaic origins, similar to the eel, cartilaginous skeleton with a characteristic circular sucker mouth without jaws to attach to fish and feed on it as a parasite. Very interesting, of course, but you may ask yourself "what does all this have to do with Rock'n Roll?". But when we think about the story itself, it is the ideal theme for the conceptual prog album.

I found myself in front of an intriguing scenario full of metaphors and (self) ironic ideas, vintage keyboards. The band is organized around the piano and keyboard, soothing acoustic passages of guitars and flutes supported by a very well-balanced rhythm and never invasive, the melody that is not bound by the rock frame that plays in various ways and builds a fantastic world view. Sometimes sudden and eccentric rhythm development and outlandish tones are introduced and we have singing with a rich performance and a strong presence.

Each song looks like a collage of other songs, musical sensations and various backgrounds. We seem to hear a compilation of the seventies. A learned compilation that has taken only the best of that incredible decade for music in general. And yet, despite the standard sounds of the classic era, a very original album comes out. " Sotto il segno della lampreda " delivers the seventies sound so well that it turns out to be a very original album and the music proposed is much more current than a lot of trumpeted stuff as avant and futurist. There is a sense of satisfaction after listening to the album.

They call themselves regressive Rock because they don't know what to do with modernism ... Regressive? A provocation? Maybe? It is a brilliant concept work with advanced performances and originality with considerable momentum of vocals, based on the sound creation where you can feel the respect for the 70's prog rock.


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Studio Album, 2021
3.00 | 3 ratings

Foreste Interstellari
Hunka Munka Rock Progressivo Italiano

Review by StarKist Chicken Creations, Chicken Salad, 2.6 oz Pouch (Pack of

Roberto Carlotto alias Hunka Munka made a late comeback: In 1972 there was a single album by the Italian under the title "Dedicato A Giovanna G.", after which the keyboardist and singer remained relatively unnoticed. In the 90s he got together for a project with his former drummer, Nunzio "Cucciolo" Favia, who was also known from Osage Tribe, but after that he was on shift again for a long time. Since about 2010 Carlotto has been doing something again, and the collaboration with the younger keyboarder colleague Joey Mauro has now apparently led to it being almost 50 years after "Dedicato A Giovanna G." now there is a second Hunka Munka album.

And actually the signs on this work called "Foreste Interstellari" are good: The offer is music that mainly affects the hard rock area and is predominantly dominated by the keyboards, especially in the form of organ, synthesizer and occasional Mellotron imitations , but still looks reasonably fast. The enveloping sound of an organ introduces "La Dama Della Foresta", a song that then evolves into a very rhythmic progressive rock and built on excellent and imaginative keyboard works and "Brucerai" combines progressive with a hard rock that can bring mind the Atomic Rooster. The atmosphere is changed with "La Solitudine Delle Stelle", a melancholy and slow song, a dark ballad with piano, female choirs and enveloping keyboards that introduces "Idee Maledette", where the most articulated and lively progressive returns.

Worth mentioning, even if the whole album is on high executive and compositional levels, "L'Uomo Dei Trenini", another excellent song with a mellotron that embraces and acts as a soundtrack to a steam train that runs and gives way to the splendid instrumental "I Cancelli Di Andromeda" and then the title track, "Foreste Interstellari", almost space rock to give coherence to the title, but which in its almost twelve minutes of duration explores the whole world of progressive rock and does not miss a short but an excellent drum solo and a "Concerto Grosso" ending. Two songs remain, "Amanti Come Noi", a splendid baroque ballad reminiscent of Procol Harum for those enchanting organ notes and "La Stanza Dei Buttoni", an instrumental that acts as an outro and puts an end to an album.

Classy progressive rock that refers to the fabulous seventies while remaining very current and modern.


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