Discography

Bi Kyo Ran (82) Parallax (84) Fairy Tale (87, Live from 78/79 concerts) Who-Ma (88, Live from 1983) Ran (93, Live from 1983) Madorami (94, Live from 1977) Go-Un (95) Deep Live (95) Kyobo na Ongaku (98, a.k.a. A Violent Music)

Reviews

This band was a dead ringer for King Crimson in the Red period, they had every aspect of Crimson down cold, in fact on the first album you'd swear you're listening to Fripp and company until the guy starts singing in Japanese. The second album, titled Parallax is a little more original and mostly instrumental. There are also two live albums that pre-date the first album: these sound so much like Crimson it's scary!

Bi Kyo Ran are usually compared to Red-era King Crimson. While the guitarist, Kunio Suma, does a fine Fripp imitation, the rest of band fails to fully deliver the Crimson atmosphere. There are some aspects of the band that give them their own signature sound, including acoustic songs and Japanese vocals, with harmony! On Parallax, their second album, the rhythm section has improved (still mostly the same members) and the Red atmosphere they create is closer to the original thing. The band, however, still doesn't quite come across as a Crimson clone, as they retain enough individuality to give them a unique appeal. Featured on Parallax is the 21 minute "Suite Ran," which covers some blazing, Crimson-like passages to more pastoral settings. The closing section of the suite, "Crimson Children," has some gorgeous Mellotron and guitar. When Crimson is invoked, it's not only Red but I was also reminded of In the Court of the Crimson King in a few places.

Bi Kyo Ran are a Japanese band whose music is very much in the area of King Crimson, circa Red. The guitarist does a mean, virtuosic, electric-Fripp imitation, with another gent contributing the Belew-influenced vocals. Despite the obvious imitations, the music is very well executed and stands on its own. Some of the pieces are reminiscent of the Mellotron-backed Crimson of their earlier period, to complete the picture. Additionally, a violinist is also featured, who does the David Cross bit by interjecting screaming violin solos into some of the passages. All in all, Parallax is a fine piece of progressive rock, which should definitely appeal to those who enjoyed mid-period Crimson.

I'm not a big Crimson fan. Hell, I'm not even a small Crimson fan! You know, everybody has that one band that everyone else likes but they can't seem to click with. King Crimson is that band for me. I've been listening to them for many years and I still think they're a bit *ahem* overrated... So here comes Bi Kyo Ran from Japan. Described by an astute listener as sounding more like King Crimson than King Crimson, this three piece emulates KC so well that...you guessed it! I think they're overrated too! While not lacking talent, Bi Kyo Ran tends to meander a bit too much. I like chaotic music, but these guys are slow, slow, slow, when they should be fast, fast, fast. The band could use a shot of musical ex-lax to get things going. Vocals are in Japanese, but that's not a detraction at all. If they didn't sound to damn much like outakes of Red and Larks Tongue, I probably wouldn't be as harsh. At least KC had soul and creativity as well as knockout musicianship. Bi Kyo Ran fails in the first two but makes a noble attempt to compensate for it with the third. Now that I think about it, the ex-lax analogy pretty much sums up how Parallax sounds: constipated.

Links

Some Bi Kyo Ran albums are available from M&M Music. Others may be ordered from The Laser's Edge

Discography

The Madleys of Bridko Bebic (96)

Reviews

Solo album of Begnagrad accordionist and leader, was in Nimal, one of the RIO legends. On this album [Madleys] he further develops RIO weirdness and also continues where Nimal have finished, most notably on the track "Fragile part 3 and 4". He is helped by old Begnagrad mate Bogo Pecnikar (clarinet, baritone sax), Shirley Hoffman Wolz on suzaphone, euphonium tubas, there’s a violin, viola player, too. Marcel Momo Rossell has produced the effort. Music is very weird esp. because of Bratko’s way of singing (actually kinda gulping, gurgling, dog like breathing, everything in a melodious way). He’s experimenting with deconstructions, reconstruction, half constructions, etc. There’s again plenty of different sources, omnipresent ethnic (slavic, gypsy, etc.) tendencies, contemporary music, cabaret and even circus kind of weirdness. Feeling is more differently sombre or perhaps unusually laid back, stoned to middle degree, if you want. Demands even more time than Nimal or Begnagrad to get into. But when you get into ... it’s hard to get out. Recommended! -- Nenad Kobal

Links

[See Begnagrad | L'Ensemble Raye | Nimal] Click here for Bratko Bibic and the Madleys web site Click here for Accordion Tribe web site (Bratko was in this group too)

Discography

Life Line (86) Cloud Chorus (87)

Reviews

Michael Bierylo US Guitarist that produced two albums in the mid-80's: Life Line and Cloud Chorus. Both are relatively low key projects featuring acoustic and processed electric, with guest musicians on other instruments. Very nice, very spacey, but the second one tends to get a little new-agey. Still not bad, tho. Michael Bierylo was originally from Detroit, but got his formal music education at Boston's Berklee College Of Music. He recorded two nationally distributed solo recordings, Lifeline and Cloud Chorus. He worked with two bands, Ibrahima's World Beat and Packing For Egypt before replacing founding member Martin Swope in Birdsongs Of The Mesozoic in 1991. Bierylo is currently an Associate Professor of Music Synthesis at Berklee College of Music and lives in Brighton, Massachusetts. -- Fred Trafton (paraphrased from his bio on the Birdsongs Of The Mesozoic web site)

Links

[See Birdsongs of the Mesozoic] Click here for Michael Bierylo's home page on the Berklee web site Click here for the Birdsongs of the Mesozoic Official web site

Terminal Velocity (83), Astropop (83)

Okay, so they have a stupid name! BAS had one album titled Terminal Velocity in 1983, and there is as the 3 song EP from it titled Astropop. Their sound combines some elements of Camel, Floyd, and others. Lots of keyboards, guitars and Sax over a hard driving rhythm section, with very stylized vocals, sort of a Bowie meets Jim Morrison meets Roger Waters.

Discography

From the River to the Sea (92, Demos on self-released CD) The Infant Hercules (93, Demo, Cassette) Goodbye to the Age of Steam (94) English Boy Wonders (97) Bard (02)

Reviews

Big Big Train (1999) - Pete Hibbit (drums), Greg Spawton (guitar), Martin Read (vocals), Tony Müller (keyboards) and Andy Poole (bass) I had never heard of Big Big Train when they sent me their 2002 release Bard for review, so I had no idea what to expect. Upon researching them using their web site, I discovered that they have shared venues with IQ and Jadis, and in fact their first album Goodbye to the Age of Steam featured vocal performances by Martin Orford (IQ and Jadis) and Gary Chandler (Jadis). Goodbye ... and English Boy Wonders were both released on the Giant Electric Pea label, which features several famous bands of the so-called "neo-prog" variety including the above two and also Spock's Beard. So then I thought I knew what to expect when I heard the album. Well, yes and no. On my first listen to Bard, I honestly thought that the band had made a mistake in sending their CD for review in the GEPR. "These guys aren't progressive", I thought. "This is an alternative band that has misunderstood the meaning of 'progressive'." I put the CD away for about a month after listening to only the first song and only put it on again as their place in my review queue was approaching. I gave the album a good listen all the way through this time. I changed my mind. On the second listen, I decided that the keyboardist was a prog artist and the rest of the band was mostly doing alternative and arm-wrestling him for control. By the third listen, the subtleties in this music became noticeable, and I started hearing the progressive touches all over the place. BBT is a progressive band, they just don't punch you in the face with it. The music is so easy to listen to that you think you're listening to adult pop ... except for those Mellotrons, lengthy songs, odd time signatures, synthesizer solos, constantly-changing themes and long dreamy guitar solos. The last two songs even run together to form a "side-long" mostly-instrumental epic. This is progressive rock with a '90's adult pop sensibility. Perhaps that's the best definition of "neo-prog" I've ever heard (though it doesn't keep me from despising that term). Bard isn't really my personal favorite prog style, but it is well recorded, well performed and has good compositions. I guess I like being "punched in the face" by a band's progressiveness. But for those who like some of the other bands from the so-called neo-prog camps, I could recommend this album highly. Unfortunately, if you're interested in this band, you'd better hop over to their web site and order it quickly, because their site says they've decided to hang it up and disband. Bard may end up being their final release. Which is a shame, really, because this is good music that deserves to find an audience ... an audience that I'm sure is out there somewhere if BBT could just be heard by their constituency. I hope some new fans find them via this GEPR entry. -- Fred Trafton

Links

[See IQ | Jadis] Click here for Big Big Train's web site, and to order Bard Click here to order Goodbye to the Age of Steam or English Boy Wonders from Giant Electric Pea

Swimmer (86), Creeping up on Jesus (88)

80's mainstream sounding pop band that occasionally gets a little progressive, and has gotten some airplay as a result. File with Toy Matinee, Icehouse, and the like. Not bad, but not really prog either.

Scottish players of American style pop-rock.

Biglietto Per L'Inferno (74), Il Tempo Della Semina (74, Released 92)

This is a hard-rock band, and the first LP (one of the best album of italian progressive) is really difficult to find.

Biglietto Per L'Inferno (Ticket to Hell) is an Italian six-piece symphonic prog band whose first release is rightfully considered one of the classics of Italian progressive. Instruments include the standard bass, drums, guitar, two sets of keyboards, vocals and flute. The music ranges from Tull-like heaviness (flute and driving guitar) to very symphonic PFM-like passages of piano, synth and guitar. The drummer mixes up the beat with excellent variety and is an integral part of the mix. The closest comparison would be to Semiramis with its heavy passages alternating with lyrical interludes. This album doesn't sustain the heavy intensity found on Semiramis's classic which gives Biglietto's release a more diversified feel. The 15 minute "L'Amico Suicida" is a prime example of the diversity and talent as the band rages through heavy passages (similar to Osanna, anotyher classic Italian band) through keyboard runs reminiscent of Le Orme's Contrappunti into quiet, vaguely bluesy guitar passages. The band lingers not in any of these areas, constantly driving forward and shifting gears reminding me of several Italian bands yet sounding like none of them. The diversity holds across the entire album so that it never becomes stale. Highly recommended.

[See Banfi, Giuseppe]

Discography

Kad bih bio bijelo dugme (74) Sta bi dao da si na mom mjestu (75) Eto! Bas hocu! (76) Koncert kod hajducke cesme (77) Bitanga i princeza (79) Dozivjeti stotu (81) Uspavanka z Radmilu M (83) Bijelo Dugme (84) Pljuni i zapjevaj moja Jugoslavijo (86) Ciribiribela (88) Several compilations

Reviews

First two albums prog, later stuff more commercial.

Bikini (86)

Hungarian band. Sounds very similar to Omega, at least the 1986 album I happened to find in London. Not original for a second, but very pleasant listen.

Wolne Loty (86), Ucieczka Do Tropiku (87)

Bilinski is a Polish synthesist and composer, who paints colorful soundscapes with a strong rhythmic backing and soaring melodies. His style's nearest comparisons might be with Vangelis or latter period TD or such. He's got a mess of LPs and cassettes, some are more interesting than others. Of the two I know fairly well: Wolne Loty is his 1986 release and features a more classically progressive style, while Ucieczka Do Tropiku is from 1988 and has a more pop feel and some interesting effects. Both are 100% instrumental.

Atmospheres and Melodies Inspired by the Paintings of H.R. Giger (86)

This is a casette-only release from Auricle. Apparently taking over a year to complete, it is a synth/guitar/weird noise collage of sounds with each piece made to be evocative of a particular Giger painting. As those of you who know Giger's work will understand, this is pretty frightening stuff. Think of something like Tangerine Dream's "Rubycon" with the musical equivalence of cancer ... It tries to balance the horror undercurrent with noises reminiscent of mechanical things and throbbing machinery. Indeed, it's biomechanical music. Not a real noise jam a la Einstürzende Neubauten or minimal gut-wrenching horror music a la Nurse With Wound but pretty listenable and very powerful. Recommended for those who think EN and NWW are a bit too much. Great stuff. The people responsible for Biomechanoid are the Freeman brothers who have previously released on tape only under the moniker of "Alto Stratus." An outfit I've never heard but who are apparently in the space-rock genre. The Freeman brothers own probably the best progressive music outlet in the UK called "Ultima Thule" and do worldwide mail order. They also own the Auricle label which has put out material by Klaus Schulze and other luminaries, not to mention their own Alto Stratus and Biomechanoid stuff. They also own, edit, produce and contribute to a really good prog/alternative music magazine "Audion." Dedicated guys.

Reality Gates (76)

Electronic music.

Discography

EP (83) Magnetic Flip (84) Beat of the Mesozoic (86, EP) Sonic Geology (88) Faultline (89) Pyroclastics (92) The Fossil Record (93) Dancing on A'A (95) Petrophonics (00) The Iridium Controversy (03) 2001 Live Birds (04, Live at NEARFest 2001) 1001 Real Apes (06, w/ David Greenberger) Extreme Spirituals (06, w/ Oral Moses)

Reviews

Birdsongs of the Mesozoic - Rick Scott, Ken Field, Michael Bierylo, Eric Lindgren First off, I must say that aside from The Fossil Record, I have not heard any of their other studio material. I have, however, seen them live a few times in the past year or two. The Fossil Record is a collection of studio material from the "early years" of Birdsongs that didn't find its way onto any of their albums. How does it compare to the rest of their work? Well, judging from their recent live performances, I would say they have matured quite a bit as composers, and their sound has also grown much fuller. Birdsongs play a unique, quirky mixture of minimalism, 20th century "classical," and prog. One can hear strains of Steve Reich, Stravinsky, Satie, Louis Andriessen and Univers Zero running through their pieces, and they are not afraid to use a little musical humor on occasion. The music on this CD, however, betrays their influences as well as their "formula" a bit more than the material I've seen them perform live. Most of their pieces develop by taking a theme, usually melodic, and rhythmically and harmonically fragmenting and mutating it. This deconstruction works beautifully at times, but as with other musical "processes," the process can sometimes overshadow the music. I saw them perform a piece which was announced as a cover of a song off of The Yes Album, the challenge being to figure out which one. Though I am quite familiar with The Yes Album, I still couldn't figure out what song they were deconstructing. It didn't matter. The music stood on its own, apart from the clever process. Some of the pieces on The Fossil Record work as well as that one did, while there are others that don't. There are about 15 tracks filling up more than 70 minutes on the CD. The last track is a 23 minute piece called "To a Random"; a very sparse and atmospheric piece written to accompany a film of the same name. The rest of the songs are mostly in the 3-6 minute range. I am eager to hear some of their newer studio material, and I imagine albums like Faultline are probably in fact a better place to start for those new to Birdsongs. Nevertheless, this is a worthwhile compilation that will definitely be of interest to fans of Birdsongs. And no matter what your tastes in prog are, don't miss these guys live if you get a chance to see them!

Birdsongs of the Mesozoic are one of those unclassifyable groups. I have two of their albums Sonic Geology and Faultline. SG is a compilation of their first three albums, with two bonus tracks. This is the one I would recommend people to start with. Their music is a mixed bag of punk, post-punk, progressive, avant-guard, and classical (there are probably several other styles thrown in for good measure). Their music is pretty much all electronic (I believe they had three keyboardists at one point).

Sometimes you can only choose one of a band's CDs to buy and so, based on a list of vague factors and confusing reviews, you make your best guess and take the leap. One may consider many things: Think first albums tend to be good? You take that into account. Prefer small groups that play mostly instrumental stuff? That's important. Hate the cover? It matters. But whether you've chosen correctly will be unknown till you hear it and even then it may be years before you fully appreciate the work. With Birdsongs of the Mesozoic's Dancing on A'A', I sometimes wish I had chosen something earlier instead and though not a bad record, I suspect it isn't the best introduction to the band. Gorgeous music but it reminds me of when I listen to Von Zamla -- it's like; this is amazing stuff but I only want to hear it on occasion. The Zeroes meet Tangerine Dream on a Saturday afternoon, but it didn't hold me. -- David Marshall

My original entry, 7/13/01: I have Birdsongs of the Mesozoic's The Fossil Record and Petrophonics which are, as of this writing, their oldest and most recent recordings respectively. I've also seen them live at NEARfest 2001. Excellent use of acoustic piano along with drum sequences, processed guitars and electronic keyboards, plus a woodwind player made this band very enjoyable at their NEARfest appearance. Aside from a few nay-sayers who were murmuring "man, they were sorta weird", the bulk of the audience seemed to enjoy their performance as much as I did. In spite of what has been said about them above, I don't find them that difficult to classify ... they are somewhat uneasily within the scope of RIO, with superficial resemblences to bands like Henry Cow or Univers Zero, but not really sounding much like either of them. They combine avant-garde noise, neo-classical sounds, hypnotic sequences, minimalist "pulse" music and prog rock in a very interesting mix. The Fossil Record is a collection of early works from 1980-87 (cute album title, huh?). This recording certainly shows the band trying to find their sound, though all of the pieces bear some resemblance to the 2001 band I saw. In addition to original compositions, this album also contains covers of Brian Eno's "Sombre Reptiles" and The Ventures' "Out Of Limits", so they definitely run the gamut musically. This earliest line-up consisted of Erik Lindgren, Roger Miller, Rick Scott and Martin Swope. The sense of experimentation and breaking the rules is already there in this line-up, and this is an enjoyable listen, perhaps more melodic than they came to be by the time of Petrophonics. By 2000's Petrophonics release (and the previous release, Dancing on A'A), only Lindgren and Scott remain from the original line-up, joined by guitarist Michael Bierylo and saxophonist Ken Field. Petrophonics is an excellent album, again in the RIO vein, but also fairly minimalist. I am occasionally reminded of Philip Glass along with the previously mentioned RIO artists. Very nice stuff. These albums are highly recommended for the adventurous. Addendum 10/6/06: Prog rockers are simultaneously the most free, open-minded bunch of listeners imaginable and the most closed-minded, opinionated jerks as well. And, yes, I'm talking about myself as well when I say that. I suppose I fell into the second category when I got the latest CD by Birdsongs of the Mesozoic from Cuneiform Records. The album's title is Extreme Spirituals, and it's an album of ... get this ... negro spirituals sung by a fellow named Oral Moses. I'll admit it; first response was to put my finger down my throat and make gagging noises. "Birdsongs playing negro spirituals? Why would a bunch of avant-garde white guys want to do such a thing? And why would a black gospel vocalist want to have these whackos messing with his music? It's just a bad idea". But what the heck? I put it on. Actually, it's everything bad I had imagined ... a black male vocalist who sounds like Paul Robeson singing "Old Man River" from Showboat, but backed by Henry Cow. Or Univers Zero at least. Usually, the music and rhythms seem to have nothing to do with the chords you know go with these melodies, even as the vocal melodies themselves are being sung perfectly "straight". It should be a mess. But it's not. Believe it or not, this is a really compelling album. Weird? You betcha. But, hey, this is Birdsongs of the Mesozoic. You know they're going to be weird. Extreme Spirituals probably won't make my top-ten album list for the year, but I must say it's a really bad idea executed so well that it's certainly worth a listen or three. Have you got the nerve to try it out? And, speaking of weird, Birdsongs has already released another album this year as well. Evidently they play music as a background for a narrator (David Greenberger) who tells stories he's gathered from the residents of the Duplex Nursing Home in Boston. Judging from the web site, BotM has actually done live shows with this guy, and now they've released an album together, 1001 Real Apes. These guys will try anything, apparently. I wouldn't be surprised to find this is a pretty cool album as well. But for now, that's only a theory, since I haven't heard it. -- Fred Trafton

Links

[See Bierylo, Michael | Family Fun | Space Negros] Click here for the Birdsongs of the Mesozoic Official web site Click here for the Birdsongs of the Mesozoic page on the Cuneiform Records web site Click here to order 2001 Live Birds from NEARFest Records Click here to order 1001 Real Apes from The Duplex Planet

Discography

Birth Control (69) Operation (71) Hoodoo Man (72) Rebirth (73) Live (74) Plastic People (75) Backdoor Possibilities (76) Increase (77) Titanic (78) Live 79 (79) Deal Done at Night (80) Bäng (82)

Reviews

Sketchy German semi-prog band that had some ups but mostly downs. Backdoor Possibilities is yuck.

They play their own style of prog and some people definitely like it. Listen before buy.

Berlin's Birth Control got their start in the late sixties with a self-titled album. There are some obvious symphonic passages, but the album is for the most part psychedelic. Thanks to drummer/singer Bernd Noske, whose voice sounds remarkably like Jay Ferguson's, the band sounds at their most psychedelic a lot like Spirit. But keyboardist Reinhold Sobotta has apparently been listening to King Crimson's first album, or some other early prog album, as his two contributions to the album, both instrumentals, have a definite prog sound. His "Recollection" is largely in 5/4 and has a cathedraloid organ intro, while the ten-minute "Sundown" includes scoring for strings. The rest of the album is fine as psych albums go, except for a lame cover of the Doors' "Light My Fire." (a song I've never liked by a band I've never liked.) Noske and guitarist Bruno Frenzel formed the nucleus of the band which remained constant through all the different line-ups. Sobotta was long gone after the first album. The next Birth Control album, Operation, didn't appear until 1971. I haven't heard it personally, but someone who has told me it sounded like Deep Purple. WHether he meant the pre-HM Deep Purple, or the hard-rock DP we all know and some of us love I don't know. After hearing Hoodoo Man, I am inclined to believe the former suggestion though, as it features one track with church-organ (the title-song I think) and another based on a classical piece, both seem to be the sort of thing Jon Lord would have done before Deep Purple went the hard-rock trail. (Remember Concerto For Group And Orchestra?) For 1973's Rebirth, Birth Control too went down the hard-rock trail. There's still some prog leanings here, but most of it resembles Allan Holdsworth's work with the band Tempest. Notable tracks include "Together Alone Tonight," the only REAL prog tune on the album, and "Back From Hell," which includes a two-minute drum solo. On the other hand, "She's Got Nothing On You" sounds oddly like ZZ Top (!), thanks in no small part to new bass player Peter Foeller's blustery vocals. Also of note is the introduction on this album of keyboardist Zeus B. Held, who would become a prime mover in future band activities. I've heard two tracks from the live album. Apparently they come from the OPeration period. More improvisational than most of the music I've heard by them. One track features a tripped-out organ-solo reminiscent of Frumpy, and Noske going berserk on a number of percussion instruments. Plastic People is the first REAL prog album the band produced. By introducing synthesizers, string-arrangements (on "My Mind") and tricky rhythmic workouts exercised by the whole band (note "Tiny Flashlights" and "Trial Trip"), the sound grew exponentially. Even the lyrically inane "Rockin' Rollin' Roller" is enjoyable. However, I don't think it wise of them to choose Foeller to do most of the lead-vocals on this. His gruff singing-style may have been appropriate for the heavy stuff on Rebirth, but here it just doesn't fit in. Take for example the closing track, "This Song Is Just For You," which thanks to his vocalising, and a nifty horn-arrangement, sounds eerily like Chicago's "Make Me Smile"! Backdoor Possibilities was the band's crowning achievement, a concept album about a New York businessman who meets the Grim Reaper when he's stuck in a stalled subway train. Even if the concept is half-baked (they throw in a totally unrelated instrumental half-way through and then don't really follow up on the story well from there), at least the music proves to be engaging, to say the least. Not only do they expound upon the developments of the previous LP, but they also manage to include everything but the kitchen sink. Do you want Gentle Giant-ish madrigal singing? Listen to "Legal Labyrinth." "Futile Prayer" is a lush minor-chorded synth-epic reminiscent of early King Crimson, while the three-part instrumental "La Ciguena de Zaragoza" is highlighted by David Jackson-styled multiple sax-work. Produced by Caravan/Genesis/Van der Graaf Generator producer David Hitchcock, who clearly had at least something to do with the content of this album. Highly recommended. ...But not even David Hitchcocks production could save Increase. It's odd that the band's creative peak should be followed by its artistic nadir, but here it is. Desperately hoping for a commercial score, the band tries everything from a Roxy Music ripoff ("Until The Night") to a noxious disco song with unbelievably vapid lyrics. ("Get Up!," which is SO bad I was praying it was a parody). Except for two mediocre prog tunes ("We All Thought We Knew You," a tribute to the late Helmut Koellen, followed by "Seems My Bike's Riding Me," about the joys of motorcycle-riding...ironic because I think that it was a motorcycle accident that killed Koellen.) most of the album is devoted to vacuous pop-rock yuck. Would you believe a song titled "Skate-Board Sue"? Apparently the person who caused this was keyboardist Zeus B. Held, not surprising when you consider his subsequent career in the eighties, producing disco acts like the vile Dead Or Alive. (of "You Spin Me Round Like A Record" fame) Reportedly they went back to the hard-rock style on Titanic in 1978, apparently as a reaction to Held's machinations. He was dumped from the band after that album. (He made a solo album the same year. Titled Zeus Amusement, I'd steer clear of it even though I haven't heard it.) One more live album, Live 79 followed, apparently drawing mostly from Titanic. Birth Control made a new album with a new line-up for a new label in 1980, Deal Done At Night, antother one I haven't heard. That seems to have been the end of it, except for an obscure early 80's item on the likewise obscure Ohr Today label.

Bittova and Fajt (87), Svatba (87), River of Milk (91), Bittova (91), Bittova and Dunaj (??)

Bittova is violin and voice, Bittova and Fajt is folk/prog/gypsy.

This innovative Czech singer/violinist combines slavic folk music with minimalist jazz and classical for odd and often amazing effects. Kind of like a hyper Meredith Monk playing folk music, if such an image is even possible. Bittova weaves trancing repetative lines between her voice and violin. Her lyrics are beautiful (in translation on River of Milk) and the sound of Czech is quite enthralling. Pavel Fajt is a percussionist who brings out the best in his collaborations with Bittova. Bittova & Fajt is the finest CD in this lot--worth hunting down. They both appear in Fred Frith's movie (and accompanying soundtrack), "Step Across the Border." Everyone I know who's seen this film has immediately tried to seek any Bittova CD's they can get their hands on. Bittova & Fajt also appear on one of the Live at the Knitting Factory releases playing their excellent song "Strom." -- Jajasoon Tlitteu

Discography

Revelator (98, with Nicky Skopelitis)

Reviews

Revelator could also be Skopelitis album with Raoul helping. Not sure. -- Nenad Kobal

Links

[See Krakatau]

Diary of a Blind Angel (92), Welcome to the Moonlight Circus (94)

Neo-classical metal similar to early Yngwie Malmsteen, but with good lyrics. The guitar and keys are incredible, Dream Theaterish sometimes, sometimes like Malmsteen or Johannson. excellent acoustic guitar interspersed throughout, and very exciting music everywhere. Everything is powerful and crisp, with near-flawless instrumentation and melodic vocals, which are sometimes mispronounced but still pretty good. Not a screamer, just a singer with a voice that i like but some people I know don't. Perfect for Malmsteen and Dream Theater fans. Lots of time changes and a sort of folkish, Marillionesque way of arranging songs. Neo-prog metal with a very dark atmosphere.

Discography

Dark Smiles (03) And Life Goes On (05) Play Again (06)

Reviews

The Black Noodle Project - (not in photo order) Jérémie Grima (vocals, guitar), Anthony Leteve (bass), Matthieu Jaubert (keyboards, vocals), Franck Girault (drums) and Sébastien Bourdeix (guitar) [Regarding And Life Goes On]: Average Floydians doing their best with OK but tired material. In fact, this disc sounds a bit like The Final Cut in that the songs could be The Wall outtakes. Even the band photo [not this one, the one on the album cover -Ed.] looks like early Floyd with a Gilmour look-alike and a dreamy countryside. Save your money and get a Pink Floyd bootleg from 1975 or look into any of David Gilmour's three albums. -- David Marshall

Links

Click here for The Black Noodle Project's web site Click here to buy The Black Noodle Project's albums from Musea Records

Open the Next Page (90)

Led by keyboardist Fumiaki Ogawa, this band plays something between a contemporary fusion and classic progressive, with thin stylistic threads to bands like UK, but with a very polished Jazzy feel throughout, maybe some Zappa influence, Pat Metheny; They sing ... in English, and you can understand the words. I only know of one CD Open The Next Page. Excellent new music.

Discography

The Black Sun Ensemble (85) Black Sun Ensemble (88) Lambent Flame (91) Tragic/Magic (91) Elemental Forces (92) Psycho Master El (94, as Black Sun Legion) Sky Pilot (99, Remix/remaster of Psycho Master El with new material) Self-Titled Pyknotic (00, CD reissue of '85 self-titled album with 2 unreleased cuts from the same sessions replacing lost masters of 2 original cuts) Hymn of the Master (01) Live at KXCI (02) Starlight (03) Live at KXCI Vol II (04) Bolt of Apollo (05) ... several cassette-only releases

Reviews

Jesus Acedo in a 1988 promo shot US ensemble led by Jesus (now Dagan) Acedo and a fine guitarist if I may add. Unfortunately, their albums have been getting worse, and they do not show the talent like they did in the days of their self-titled debut or their second one. Note that the following article was written by someone who used to be a fan and is now a member of the band. Normally, I don't like to have band members write reviews, but this is a special case. Besides, it's a fun read. Consider yourself warned. -- Fred Trafton ... your entry for The Black Sun Ensemble (of which I am a member) is less than flattering. Your description would be right on if it were the late 90's, but not now. With the help of Eric Johnson (Bass, Guitar, Banjo, Moog) [No, not that Eric Johnson -Ed.], Brian Maloney (Sax), Leila Lopez (Drums) and myself (Percussion) we have helped Jesus De Paz (he has not used the "Dagan" moniker in ages -- which told me your entry is very outdated). Eric and Brian has been recording and playing with Jesus since 2000, I have played with them live since 2001 but was not an official member until 2003. I have played with the band at the South By South West music fest in Austin the three times we have been invited there. (2001-03). Leila has just joined the band. The first offering from this line up (Brian Kohl on Drums) was Hymn Of The Master (2001). I was not on that record. The new band was just getting their footing and it is rough, but not without inspiration. It's almost on the brink of train wrecking all through the album but I like it more than any other member of the band for that reason! Largely because of the vocals, which is all done by Jesus. He can't sing, but pulls it off somehow (kudos to Eric Johnson's studio skills). It was released on Camera Obscura Records out of Australia, which we are still on. The title track is great, as is "Captain Wormwood", "669", "The Beast", "999", "Love In The Heart of The Joyful", "Lamp Lady Vision" and "Song for Precious". The band was still getting to know Jesus the madman, and pretty much followed his lead creatively in the early daze. So the sound was very crunchy and aggressive. It was the primordial new beginning for The Black Sun. In 2003 came Starlight. It is obvious the band has matured with this second offering. Eric Johnson and Brian Maloney took on more songwriting credits, and shared a lot more of the creative decision making. The production and songwriting is far superior. The whole album has a holistic flow and flavor. The opening track "Jewel of the Seven Stars" is a lush and trance-inducing number. "Loki's Monstrous Brood" is very reminiscent of King Crimson's Red period. "Arabic Satori" has some intense stream of consciousness spoken word by one time percussionist for the band, Joseph Graves. He plays some bass on the album as well. He also reappears on the final title track as well, bringing the album to a great conclusion in style! "Angel Of Light" is a much like the feeling in "Hymn," but is still more clearly played and executed in every way. The other gems to me are "Mascara Moon," a song which certainly illustrates that this new incarnation is something to be reckoned with. "The Lycian," is also very Crimsonish, which is alright by me, but has that Black Sun drama in it's own right! My two favorite tracks are "I am I was" with Eric on vocals. Eric has a great and distinct style. He has his own band Sun Zoom Spark (a more psych-pop band) on his label slowburn records-check them out! I also love "Remedios Rising" a Brian Maloney instrumental. Beautiful. Then came the self released Live at KXCI and later Live at KXCI Vol. II. The latter is the better offering, for no other reason than the band started to head off to more early waters-sounding much more like the first album than ever before. We had just gotten back from SXSW, and we were very tight. Eric is heard playing Banjo and kick drum at the same time! Then bass. I am on percussion, Brian on sax. Now we have completed Bolt of Apollo, soon to be released on Camera Obscura once again. Oddly enough, it is the current NEXT album Across the Seas Of ID (The Way to Eden) that is more like what the band currently sounds like live. Apollo is all instrumental, with Ernie Mendoza as a guest (an incredible drummer) on kit. I will not go into these two albums all that much, but I will say both offerings we are very proud of, and Jesus is playing better than has in years. Which is why I am writing this, because he has been playing amazingly well, and has been incredibly creative these past six years, overcoming great odds. I am in the band, but I do not write this because I want to brag about the band I am in. I am writing this because Jesus is one of the greatest guitar players I have ever heard. Playing with him has been like a shamanic experience at times, especially lately. With two new albums, very good albums soon to be released, he and the band deserves a better entry within your awesome web site. I first heard the band when I live in the NYC area, in a record store called "It's Only Rock'n Roll." They were playing on the speakers (Lambent Flame) and I was instantly captivated. I was too broke to buy the record, but stayed for for the rest of the record. I did not forget the band's name and I didn't even know they were from Tucson. I then moved out here, and after meeting Eric was shocked to realize I could go see them! Now I am in the band, and it is an honor. I was barely a musician when I first played with them, but now I can call myself one, because playing with Black Sun isn't easy, and it's a fucking trip! -- John Paul Marchand

I had never heard of the Black Sun Ensemble until I got the write-up from John Paul Marchand (above), so I asked him to send me a sample. In the meantime, I studied up on the band a bit from the bio and album descriptions on their web site. I was intrigued by Marchand's cryptic comment about their band leader Jesus de Paz "overcoming great odds". They discuss this a bit on their web site. It seems that from 1988 to 1993, the original incarnation of the band, led by guitarist Jesus Acedo, produced a string of psychedelic guitar-oriented rock they describe as a "hallucinogenic brew of eastern raga, mescaline trance mysticism and mesa-perched desert riff ritual". Evidently, the use of "vast quantities" of hallucinogenic drugs were involved in these creations, contributing to Acedo's 1994 meltdown in which he "created a funeral pyre" out of half the pressed copies of Psycho Master El while claiming that the devil was speaking through him on the album. Acedo disappeared for a time after this, returning in 1999 with a newly remixed, remastered and embellished version of Psycho Master El, re-titled Sky Pilot. He has since proven that he has pulled himself together again with a new line-up and new music, as described above. Acedo calls himself Jesus de Paz nowadays (but not, evidently, "Dagan"), but it's the same guy. Marchand did indeed send me their newest release, Bolt of Apollo. This is an album of (nearly) all instrumental music. I don't know if I'd really call this album "progressive rock", their own description of "psychedelic rock" seems more appropriate. It's very guitar-oriented, with a bit of a Hendrix or even Grateful Dead feel (though not as bluesy as The Dead), very "late '60's psych" in texture and even recording style. Though not "prog" as such, there are crazed guitar passages that are reminiscent of Lark's Tongues/Red era Crimson, and I'm sure that GEPR readers who grew up in the psychedelic era will find a lot more than that to like about Bolt of Apollo. I'm not sure younger audiences will appreciate it as much ... in spite of Acedo / de Paz' recovery from the brink, having had some past personal experiences with psychoative substances would seem to be a prerequisite for grasping this sort of music. Since I'm the one making this assertion, what does that say about my life in the '70's? I admit nothing. But I must say I liked Bolt of Apollo. -- Fred Trafton

Links

Click here for Black Sun Ensemble's web site

Discography

The Rope (86) Before the Buildings Fell (86) Mesmerized by the Sirens (87) Ashes in the Brittle Air (89) A Chaos of Desire (91) Terrace of Memories (92) This Lush Garden Within (93) The First Pain to Linger (96, Maxi-CD and novel) Remnants of a Deeper Purity (96) With My Sorrows (97, Maxi-CD) (Nameless) (98, Maxi-CD) As One Aflame Laid Bare By Desire (99) The Scavenger Bride (02) With a Million Tear-Stained Memories (03, 2CD) HALO STAR (04)

Reviews

Black Tape for a Blue Girl's Sam Rosenthal and Lisa Feuer One look at the titles in the discography will tell you that this is an art-rock band. The basis of the music lies firmly in the electronic textures of synthesist Sam Rosenthal, with its roots in the sonorities of Eno, Tangerine Dream and Klaus Schulze. But Rosenthal has gone off in his own direction, creating music that is at the same time ethereal, dark, warm, ominous and introspective. It's almost ambient, and owes a lot of its timbre to that genre, but it demands your attention too much to be "wallpaper music". Take the newest CD (at the time of this writing), As One Aflame Laid Bare By Desire. It's a concept album of sorts. The concept is about an artist painting a model: "as the woman moves across the picture plane she leaves her clothed state behind and emerges nude, like a butterfly from a cocoon". The pieces are all about the artist's feelings about his model. He doesn't know her, so he creates an identity and history about her in his own head. He realizes that the feelings she has aroused in him may have stripped him more bare than she. There's more to the story, but it's all more textural and dreamlike than having any particular plot. Actually, it evokes a lot of emotions, with Rosenthal's synth washes playing underneath light and haunting flute passages by Lisa Feuer, Julianna Towns' ethereal vocals, and oboe, clarinet, violin and acoustic guitar by other guest artists to give it a bit of a "chamber music" quality. But is it Progressive? Rosenthal prefers to call it "Goth" or "darkwave". But it is a progression from other forms of music I would classify as "progressive", and it's not the slightest bit commercial ... I can't imagine this getting any more airplay than other bands they've been compared to, like Dead Can Dance and Miranda Sex Garden. So, yeah, it's progressive. And pretty cool too, in a depressive sort of way. I wouldn't run out and order the entire discography, but you should try out at least one album and see if you like it. You can try out the MP3's over at MP3.com [not any more ... -Ed.], but I'll warn you that the impression you'll get from experiencing an entire CD is quite different than just listening to the individual samples you'll get there. I advise trying out at least one whole CD. Be prepared to turn down the lights and relax into it ... -- Fred Trafton

Links

Click here for the official Black Tape for a Blue Girl home page within the Projekt records web site Click here for a Black Tape for a Blue Girl fan web site

Discography

Black Widow (70) Sacrifice (70) III (72)

Reviews

A sort of very early prog with influences from jazz, blues and rock, though of little interest today IMO.

Hard rock/prog with satanic influences. Organ and flute instead of guitar.

Third album features guitarist John Culley, ex-Cressida. Supposed to be very satanic-orientated a la Dr. Z or Pathfinder-era Beggars Opera. They also apparently had a very over-the-top stage show. -- Mike Ohman

Early prog with satanic tendencies. Similar in sound to Cressida and co. albeit with "evil" lyrics. I have Sacrifice and is not even that bad, although it is from 1970. You can hear some quite good flute and some clarinet although is not so easily discernible. Most of songs are quite energetic as it is the hit "Come To The Sabbath" , covered or ripped by plenty of hard rock/metal bands. It’s style which was later "weighted", popularized and brought to the edge of good taste by dark metallers Mercyful Fate. Concerning lyrics, I don’t believe this guys were seriously into satanism, it’s more like a parody of the parody. I think the singer should die laughing when sing this. It’s kinda peak of satanic hard prog rock music.I don’t know, music somehow doesn’t fit to that thematics. Overall, nothing to die for, yet it has some moments. -- Nenad Kobal

Links

[See Cressida | Pesky Gee]

Blackthorn (77), II (78)

Prog folk, female vocals.

Dirt Box (72)

Hard rock/prog.

Discography

Solo Albums: Crystal Machine (77) Blake's New Jerusalem (78) Magick (91) Tide of the Century (00) With Gong: Flying Teapot (73) Angel's Egg (73) You (74) Live etc. (77, 2LP) The Hystery And Mystery Of Planet Gong (89) Live Au Bataclan 1973 (89) Live At Sheffield 1974 (90) 25th Birthday Party (94, Live, 2CD) The Best Of Gong (95) With others: Symphony (73, w/ Cyrille Verdeaux's Clearlight) Visa de Censure n°X (74, w/ Delired Chameleon Family) Fish Rising (75, w/ Steve Hillage) Xitintoday (78, w/ Nik Turner's Sphynx) Live '79 (80, Live, w/ Hawkwind) Levitation (80, w/ Hawkwind)

Reviews

Tim Blake Synthesist Tim Blake was born on February 6th, 1952 in Hammersmith, West London. He played the trumpet in his school band, then attended drama school at age 15 where he became interested in the study of sound. This was when he became involved with Clearwater Productions, and was introduced to (among other bands) Hawkwind, who was at that time playing around with electronics and early prototype synthesizers, though at that time he was unable to do much with them except experiment at home with signal generators. Then, in 1971, Blake was put in touch with Daevid Allen who was recording his "solo" album Banana Moon. Blake was supposed to become Gong's sound man when they returned to France, but by the time they got back, this job had been taken by Vénux De Luxe. At this point, he tried to join Gong as a synthesizer player. He returned to England long enough to buy one of the first Synthi EMS synthesizers (the seventh one, to be exact), but when he returned, drummer Pip Pyle was so annoyed by Blake's synthesized tweets and bleeps, the band decided to let him go for the time being, and they made Camembert Electrique and several subsequent albums without Blake. Blake remained in France and founded the Crystal Machine studio, making a demo cassette of his modified EMS "Crystal Machine" compositions. Then, in 1972, he rejoined Gong in time for Flying Teapot and the next two Radio Gnome Invisible albums. He also appears on several live albums recorded during these three years. Don't look for "Tim Blake" on the credits for these albums, though. He went by "Hi T. Moonweed" for those albums. During this time, Blake also worked with Cyrille Verdeaux's Clearlight on the Symphony album and Delired Cameleon Family's Visa de Censure n°X. At the end of the Radio Gnome Invisible series, several band members had a falling out, and this incarnation of Gong broke up (though he was later to rejoin this line-up for reunion concerts in 1977 and 1994, which were released as Gong Live etc. and Gong - 25th Birthday Party respectively). Blake recorded Fish Rising with Steve Hillage and then returned to France with his girlfriend Brigitte and began again working on his Crystal Machine project. After a difficult period, Blake began to collaborate with Patrice Warrener and Bernard Szajner, and Crystal Machine became a multimedia event with Blake on synthesizers and an increasingly spectacular laser light show between 1976 and 1977. Blake's first solo album, Crystal Machine is a compilation of live recordings from this period. Then, in 1978, Blake decided to do an album of songs, and his next solo effort Blake's New Jerusalem was just that. This album also featured Blake's singing and keyboardist Jean-Philippe Rykiel. After this, Blake worked with Hawkwind's Nik Turner on an album called Xitintoday, which also featured old Gong cohorts Steve Hillage, Miquette Giraudy and Mike Howlett. This collaboration was probably what set the stage for Blake's joining of Hawkwind in Autumn of 1979. He played with them for two albums, Live '79 and Levitation. However, a disagreement among the band caused Blake to be abandoned in a hotel by the rest of the band while on the Levitation tour, and Blake was once again on his own. He returned again to France, this time taking up residence in a windmill in Brittany (where he still lives today). Blake became something of a recluse for many years. He made a few appearances at festivals and played a concert in 1988. His next album release would not be until 1991 with Magick. This was another album of songs similar to New Jerusalem, but Blake says he didn't like the recording quality of this album. This caused him to begin work on "Studio Virtuel", his own independant digital multi-track recording facility installed in his windmill home. Except for his appearance with Gong for their 1994 reunion, he has mostly chosen stay away from public performances and concentrate on his own solo work in this studio. In 2000, four years of work have culminated in the release of a new CD, Tide of the Century, inspired by the highest neap tides of the century. Last year, Blake gave live performances of Tide of the Century in Holland and St. Brieuc, mixing synthesizers, computers, and acoustic piano on stage. Blake says, "I think I've managed the logical follow on to Blake's New Jerusalem at last. Living in Brittany, I've found the source to a Celtic feel that's made sense in the continuing story of Yannis Gltyr." There could be a French version La Marée du Sciécle in Spring 2001, and he wants to perform an acoustic version featuring Celtic musicians next year. He is also writing a "Suite on Celtic Airs" for bombarde & organ for Roland Becker, and is slated to appear in a Hawkwind reunion ("Hawkestra") on Oct. 21, 2000 with Dave Brock, Lemmy, Nik Turner and others at the Brixton Academy in London. News 7/22/04 (From the Gong web site): Those of you who do not regularly visit the Planet Gong Forum will not be up to date on Tim Blake's recovery after a very serious car accident on 30th May. Well I'm happy to report that although still temporarily housed in a wheelchair and armed with set of crutches he is almost fully rebuilt, mending well (although there is a way to go yet) and will hopefully be fully restored to rude health in a month or so. -- Fred Trafton

Gong synth wizard who has put out a few electronic albums.

Tim Blake was a member of the original Gong, who, in 1977, released Crystal Machine the first of his solo works. The music falls squarely in the category of electronic music, and is probably most similar to mid-seventies Tangerine Dream, in that it is not upbeat and rhythm-oriented a la Jarre, but more flowing and sustained, with slowly changing patterns of bass and melody over somewhat static backgrounds. New Jerusalem was released a year later, and features, to some extent, vocals. The tracks on this sound somewhat like Gong gone electronic, with a more beat-oriented approach to the music than Crystal Machine, with more than a passing similarity to Jarre in the non-vocal sections.

Links

[See Clearlight | Delired Cameleon Family | Gong | Hawkwind | Hillage, Steve | Nik Turner's Sphynx] Click here for Tim Blake's web site

Discography

Blåkulla (75)

Reviews

Along with Atlas and Kaipa, Blåkulla were one of the few Swedish bands that played symphonic rock in the 1970's. On their only album release this five-piece band shows strong influence of early Yes, especially the guitarist who often sounds quite a bit like Steve Howe, only with more distortion. Keyboards are mostly organ and bass and the singer doesn’t try to sound like Jon Anderson, so they are not a copy band. Their songs are split between short, slightly folky ditties dominated by acoustic guitar and longer, more rocking tunes with a fair amount of instrumental work. The most successful tracks, IMHO, are "Sirenernas sång", whose majestic guitar line reminds me of Tabula Rasa’s "Lasihelmipeli", and their short, fanfare-like interpretation of "Drottningholmsmusiken, sats 1" by Johan Helmich Roman, "the father of Swedish music". The CD version (by Ad Perpetuam Memoriam) contains three bonus tracks recorded in 1974 with a different bassist. These song tend to be heavier and more blues-inflected, reminding more of Deep Purple, especially as churning organ sounds are more prominent here. -- Kai Karmanheimo

Discography

Puristsirup (91) Wire Stitched Ears (95) Stringy Rugs (97) A Sophisticated Face (99)

Reviews

Blast 1999 - Jan Erik van Regteren-Altena, Michiel Weidner, Bart Maris, Pad Conca (foreground), Dirk Bruinsma, Frank Crijns, Frank Lorkovic, Edward Capel Blast is a quartet consisting of Frank Crijns (electric and acoustic guitar), Edward Capel (alto and sopranox sax, bass clarinet), Dirk Bruinsma (baritone sax, bass, vocals, organ, tapes) and James Meneses (drums, percussion). From the Netherlands, Blast have been around since the mid-1980s, but have only managed to release two albums, both in the 1990s. The first, called Puristsirup, was released privately by the band in 1992. Wire Stitched Ears, on Cuneiform, is the band's sophomore effort. I'm afraid I'm going to have to take the easy way out of this review by quoting from the press literature. Music this complex and detailed often escapes my limited descriptive vocabulary, and there is no need to duplicate the perfect description already provided. The band is quoted as describing their music as "chamber music for rock instrumentation." This description is aptly applied to Henry Cow and Univers Zero, and Blast are indeed comparable on different levels to these two bands. The literature clarifies further: "...they integrate free improvisations. Ranging from atonal coutnerpoint ot improvised explorations of aural texture, this music includes polyrhythmics, intricate band precision, intoned absurdist lyrics, and noise from tapes and prepared instruments. Blast's sound is both dense and kalaeidoscopic." Their sound is also a difficult listen upon the first few attempts, which afficianados of avant-jazz/improv will appreciate. A perfect example of Blast's style is the eight minute "Seisomograph '93." The song ranges from what sounds like free-form, total band improvs, to very directed rhythmic ostinati over which are paired alto and baritone sax phrases or extended and intertwined sax blows. "Pain of Fear" and "Welter" have "intoned absurdist" vocals, which happen to remind me of an anemic Frank Zappa singing like Dagmar Krause! (Really, I don't mean that in a bad way.) The middle of "Welter" is quite intricate, with the drums taking one meter, the guitar a second meter and the sax and clarinet a third. At least that's how it sounds to my ears. At the moment you expect the instruments to fly off in chaotic patterns, they come together as a cohesive unit. "Pastorale" has what sounds like gibberish vocals (they could be a real language) sung by guest Emanuela Cavallaro, beneath which are some weird tape effects and some floor shaking (organ pedal?) bass notes. If you've read this far, then you most likely have a firm idea of Blast's improvisational chamber style, or were suitably intrigued by Cuneiform's description, in which case you are urged to give Blast a chance. This is concentration music; don't pay attention and you're apt to change to something else. Pay close attention and you'll slowly begin to unravel the details and will be well rewarded. -- Mike Taylor

Links

Click here for Blast's page on the Cuneiform Records web site

Kew Rhone (76, with John Greaves), The Naked Shakespeare (83), Knights Like This (85), Downtime (89), King Strut (90), Unearthed (94, with John Greaves), Just Woke Up (95)

Blegvad is a creator of clever, quirky pop songs, very creative and idiosyncratic but within the short song format. Those who are looking for displays of instrumental virtuosity will not find them. Those who require straightforward song lyrics may also be disappointed - while many of Blegvad's songs are well-told stories, many others are elaborate word-playing that will not appeal to everyone. I particularly enjoy and admire Kew Rhone (which includes playing by Carla Bley and Michael Mantler, at whose home studio it was recorded). Here the song lyric as word game is taken to a fascinating extreme, and the arrangements and playing are great. I also recommend Downtime - most of the songs are relatively straightforward, but very good with nice backing by Chris Cutler, John Greaves, and others. -- Dan Kurdilla

Flat, spineless Canterbury-singing with some moments now and then.

[See Slapp Happy]

The Rise and Fall of Passional Sanity (92)

Blezqi Zatsaz is the work of excellent Brazilian keyboardist/composer Fabio Ribeiro and his arsenal of analog and digital keyboards. He is joined by guitarist, bassist and drummer. Symphonic arrangements and classical influences are prominent while the sound ranges from typical symphonic rock to electronic music (Jean Michel Jarre style). The rich sounds of the keyboards handle most of the melodic and harmonic work while the rest of the band takes care of the rhythm. Easy listening instrumental music that should reach a large audience. -- Paul Charbonneau

[See Desequilíbrios]

Discography

Battalions of Fear (88) Follow the Blind (89) Tales from the Twilight World (90) Somewhere Far Beyond (92) Tokyo Tales (92, Live) Imaginations From the Other Side (95) The Forgotten Tales (96) Nightfall in Middle-Earth (98) (Progressive World review) A Night at the Opera (02)

Reviews

Gothic speed metal with fantasy themes and progressive elements. I have Nightfall in Middle Earth, which is a loosely constructed story based on one of the tales in Tolkien's Silmarillion. It's Prog Metal, but more along the lines of Queen than Dream Theater, with lots of multitracking in both the vocals and the Brian Mayish overdubbed guitars building up orchestral textures. In between each song is a brief "radio show" style of voice acting with sound effects to move the story along, or sometimes a medieval-styled instrumental passage. These are actually pretty well done, particularly the spoken parts, performed by some guys with pretty good voices. Since these passages are kept down to only a couple of minutes each, I sort of like the effect. Unfortunately, the recording style of the main long song sections is much muddier than Queen, or I would like this album a lot more. It feels like there's too many overdubs, and instead of sounding orchestral it just decays into metallic chaos in a lot of places. Even so, it's not bad as it is ... but I wish I could produce this band, I would like the result a lot more (yeah, I like to do "Monday Morning Quarterbacking" too). Oliver Holzwarth (Sieges Even, Looking-Glass-Self) guested on bass guitar on the Nightfall ... album. If you have any doubt about Queen's influence on Blind Guardian, check out the title of their new (2002) release! -- Fred Trafton

Most people come here to get information and progressive rock bands. Well, I do not consider Blind Guardian extremely progressive, but adventerous in some way and (especially their 2002 album) very refreshing. I will review the album, A Night at the Opera (2002), which is in my opinion Metal Opera and not Power-Heavy Metal. But before, I'll introduce you to the band a bit. First off, you need to know that Blind Guardian is a quite old band (in the Metal scene). They have gained a lot of experience and fans with time, and are now an extremely known and reknowned band for Power-Heavy Metal. They have never been Power to the core (like Rhapsody or Nostradameus) nor too heavy styled (like Iced Earth). Rather, they have mostly played "in-the-middle" of the two and experiencing stuff. Still, I consider them a bit more heavy than power because they often play slower than power metal, and sometime use acoustic instruments which gives a strange medieval style to their music. If you hear songs like "Lord of the Rings" and "A Past and Future Secret", you would really wonder if it is really Heavy Metal. Like I was saying, Blind Guardian can be very acoustic and pretty ballad like, they like giving a "raconteur" style to their songs; story-telling legends from past times, epic and medieval days. At the same time, they can be extremely harsh in their music, listening to "Excalibur" (interpreted with Iced Earth) really gets the sense of "devilness" going. But still, they aren't going to swear or scream, and in this way they stay on the melodic side of music. Blind Guardian like to use big choir effects to back up their lead singing. They have made quite impressive songs in this manner like "And the Story Ends" which uses a choir in most of the song and gives a sense of great power. When you listen to Blind Guardian, you have to let yourself imbedded by the medieval way and style. If you like Dungeons and Dragons, or The Lord of the Rings, you will like the style of them. A Night at the Opera goes beyond Heavy and Power Metal. Think of giving an orchestra to a Metal band who likes to play powering, heavy and epic hard songs and that loves mightiness. The album is pretty crazy, as to say. It takes Metal to a new state. First of all to like the album, you need to like power. The whole album is based on epic-medievil styled music, but played with a sens of overwhelming depth. Most of the album is made up of fast, unending songs. In a way, you get a sens of great battles and combats, but in another way, your ears get hurt. This would be one of the only bad points of this album. Songs are very symphonic, orchestra like, with alot of guitar licks covering everything up. The most evident influence of this group is Queen. Especially the signing, which is evidently Queenish. Another small influence would be Meat Loaf, the great Rock Opera band. Though this is less evident, you get that sence of "opera" going like them. The drumming is especially impressive, when you concentrate on it. The thousands of beats this drummer can get going is crazy. In my opinion, the bad part of the album is the lack of emotions. I would have really appreciated if the group would have made some mellow parts of songs, making everything more "airy". What happens is that you get this unending, everchanging addition of riffs, beats and choir parts with a guitar that doesn't give you any chance of decompressing. I think that, even if this is mainly Metal, putting in some spaces to let us breathe a bit would have been necessary and even essential. Still, the album is a great step for the band. If you would like to get a sense of the album but don't want to go out and by the CD, get yourself the song "And Then There Was Silence" (no, there isn't any silence : ). This song is 14 minutes long and gives you a great idea of the style of songs you will get. All in all, it is a very good album and very "avant-garde" for the kind of music (considering Metal isn't very adventurous) and I really appreciate the band trying to do something new. Good Job guys. -- Philippe Groarke

Links

[See Looking-Glass-Self | Sieges Even] Click here for Blind Guardian web site

Debut At Dusk (87)

One of the earliest American neo-prog bands.

Poa (73)

The LP, called "Erba" in Greek, is very interesting for the flute and the keyboard and the problem is the vocals. All the member of the group are singing but there isn't a really singer.

Blocco Mentale is an Italian five piece consisting of the usual drums, bass, keyboards, guitar as well as sax, flute and occasional harmonic. All five members contribute to the Italian vocals. Like many Italian symphonic prog bands, the music on their sole release (Poa) is very melodic and draws many influences from PFM. The sax lends a different air than PFM as does the use of five singers, though I wouldn't label the music as vocal dominant because there are many long instrumental passages. There are occasional heavier moments that recall to mind bands like Il Balletto di Bronzo though quieter PFM-like passages are the norm with plenty of flute, acoustic guitar and Mellotron. Some of the vocal passages tend to drag down the music a bit (preventing this from being a true classic) but the instrumental passages are where the band really shines forth. Electric guitar and Hammond organ trade licks with the sax over a solid rhythm section. Overall, this is a good album and one that fans of melodic symphonic prog should enjoy. However, if you don't have some of the truly classic Italian symphonics, such as PFM's Per Un Amico or Semiramis's Dedicato a Frazz, you should get those first. Save this one for later explorations.

Discography

Ahead Rings Out (69) Getting to This (70) Lies (93) All Tore Down-Live (94, Live) Pig in the Middle (96, as Mick Abraham's Blodwyn Pig) The Modern Alchemist (97) Live At Lafayette (97, Live from 69/70) The Full Porky - Live in London 1991 (98, Live rec. 1991) Live at the Fillmore West, San Francisco, 3rd August 1970 (99, Live "Official Bootleg") On Air - Rare Singles & Radio Sessions 1969-1989 (99, "Official Bootleg") The Basement Tapes (00)

Reviews

Blodwyn Pig circa 1988 - Clive Bunker, Gordon Murphy, Mick Abrahams and Andy Pyle Blodwyn Pig was the band started by Mick Abrahams after he left Jethro Tull. Influences are similar to early Tull: jazz, blues, but very little trad folk. Saxes and other woodwinds play a prominent role here, played by Jack Lancaster, who would later surface in the Brand X clique. There are two albums from around 1970/71 Ahead Rings Out, and Getting to This. Anyone who enjoys the first few Tull albums should have no trouble with these.

Circa 1970- From what I recall, they played a blend of rock and Jazz. Really good driving rhythm and sax with some horns, excellent band.

Bluesrock with some good moments and riffs here and there, though small amount of prog in it.

Links

[See Abrahams, Mick | Brand X | Jethro Tull] Click here for Mick Abraham's official Blodwyn Pig web site

Contrasts (69), Rebirth (70), Reflections on a Life (71), Blonde on Blonde (72)

Folk/Prog/Psych.

Land of the Midnight Sun (86), Timeless Flight (??), Shoreline (??), Sierra Passage (??)

Colorful new-agey stuff more in the vein of Lanz and Speer's Desert Vision, Land of the Midnight Sun is supposedly a musical tribute to the picturesque beauty of Alaska. Musically synthesizers predominate throughout, but there are some drums, guitars and such.

Bloom (79)

Solo effort by Didier Malherbe aka Bloomdido Bad de Grasse.

[See Gong]

Discography

Bloque (78) Hombre, Tierra Y Alma (79) El Hijo del Alba (80) Musica Para La Libertad (81) Grandes Éxitos (82, Compilation) En Directo (99, Live)

Reviews

Bloque Spanish progressive band that had an album Hombre Tierra Y Alma that echoes strongly of the 70's italian scene with a strong folk-influenced feel in a way similar to Banco or PFM. Highly recommended. A Spanish Progressive band with a few albums out. The only one I've heard is their third, El Hijo Del Alba. At the very beginning it sounds like it might be a little bit weak, along the lines of Synergy or something, only much less interesting. However, this is quickly left behind and the album becomes much more interesting, at least in its variety. Bloque blend synth and Spanish vocals with electric and acoustic guitar (lots of electric) in a wide variety of styles. Vaguely Celtic folk melodies, acoustic ballads with melodic guitar solos that make me think of a Spanish Allman Brothers (for lack of better comparison), heavy riffing with feisty guitar solos like many a UK rock band (say, a cross between Thin Lizzy and Black Sabbath), upbeat rock 'n' roll songs with backing horns, driving passages that remind of the Italian band Osanna and much more: these (inadequately) hint at the diversity of styles heard on just the first side of the album. The band sure can't be faulted for standing still! The second side is more Progressive (also more better, to use a cajun phrase) with several songs (mostly guitar excursions, some synth) held together by a recurring theme stated by keyboards and guitar. The problem is that the album as a whole doesn't sound cohesive but instead like a mere collection of songs. The first side fails to build excitement and anticipation for the second side -- instead, I become confused as to the purpose and direction of the band. Too, the bassist and drummer play in a simple rhythm without much variation which fails to draw me into the music. Not bad, but I can't seem to get real excited about this particular album. However, it is enough to make me curious about some of their earlier albums. Basically, if you can find it at a deal, snatch it up. But there are several other bands more worthy of your long green if you are still exploring or on a limited budget.

Bloque is certainly one of the best groups to come from the '70s Spanish scene. Their style is best described as guitar-oriented melodic prog rock. That is not to say that they do not use keyboards, but certainly the guitar is the focal point. Vocals are in Spanish, of course. Their best is Musica Para La Libertad which includes the incredible instrumental track, "Tau Ceti," which is guaranteed to make guitar fans drool. El Hijo del Alba is also excellent. If you are still hungry, get the second one. Their first is rather poor and only for completists. -- Juan Joy

Links

Click here for Bloque's web site

Discography

We Are Ever So Clean (67) If Only For a Moment (69)

Reviews

Seminal psych with two lead guitars.

Links

[See B.B. Blunder]

Discography

Blue Chip Orchestra (88) Blue Danube (91) White River Red Spirit (97) Red Sky Beat (98)

Reviews

A later incarnation of Bognermayr/Zuschrader. They have released two CD's so far, both of which feature highly orchestral work, and are excellent. The second one was released just a couple of months ago [this was written in 1991! -Ed.]. Their interpretation of "Bolero" on the first one is very listenable, if somewhat trite.

The back of Blue Chip Orchestra CD claims they are the first digital philharmonic. BCO has impeccable sound quality, and some convincing electronic orchestrations, but as a whole it doesn't compare to classical music (if this is the intention). The darker passages are the more interesting, and I think the music might have been more effective if it wasn't broken up into smaller pieces separated by the sound of pages flipping.

This is Hubert Bognermayr and Harald Zuschrader, ex-Eela Craig. I heard one track, "Bolero Carmin". Sounds like an attempt to mix latter- day synth music with acoustic, classical instrumentation. Not unlike labelmate Matthias Thurow's work, but not quite as good as that. -- Mike Ohman

Blue Chip Orchestra was the brainchild of keyboard player and Erdenklang label founder Hubert Bognermayr, a "digital philharmony" striving to mix the stately and stratified style of Middle-European art music with the brighter beats of contemporary electronic music. Blue Danube - Donau So Blau (Erdenklang 91346) is a tentative effort to achieve this kind of synthesis. The song titles evoke the spirit of composers like Mozart, Smetana and Bruckner and occasionally use, not always credited, snatches of melodies from actual pieces of the said composers. However, taking the arch marches, the romantic sweeps and Straussian burlesques and dressing them up with floating rhythms, vocal sampling and jangling digital tones does not in itself lend to a particularly engaging music. Members of Bognermayr's Blue Chip Academy play all kinds of electronic and custom-built hybrid instruments to match Bognermayr's extensive digital synthesizer programmes and arrangements. This gives the music a bit more range and organic quality than most electronic music of the same era, and hence makes it sound less dated fifteen years later. It avoids all unnecessary bombast and most clichéd methods by which many progressive bands, for example, came undone when trying to mate classical with popular. Yet somehow it also fails to leave much of an impression or to evoke a great response. The concept is sound and the realisation intriguing, but here the coupling of classical and electronic does not feed off into a positive synergetic loop. White River Red Spirit (Erdenklang 70992) and Red Sky Beat (Hearts of Space 11089-2) are two different versions of the same album, differing in artwork, running order and song durations. In both cases, the music is atmospheric electronica bordering on New Age, with an abundance of breathy pads, langorous melodies and various sampled or synthesized vocals and rhythms from Native American musical heritage. There is more vitality to this music, yet it is mining a far more familiar territory with already established tools. Interesting for what it is, but quite far from progressive rock. -- Kai Karmanheimo

Links

[See Eela Craig | Bognermayr and Zuschrader]

Discography

Out of the Blue (78) Just For the Record (79) The Intermediary (82) Free Delivery (90) Country Boy Country Dog / How to Discover Music in the Sounds of Your Daily Life (94)

Reviews

"Blue" Gene Tyranny Just For the Money - a must have [I think he means "Just for the Record" -Ed.]. A few atonal pieces plus the classic "Timing". You probably heard this one (Change now....)

Links

Click here for "Blue" Gene Tyranny's web site

Blue Morning (73)

These sound like Soft Machine.

[See Soft Machine]

Blue Motion (80)

Blue Motion is a trio consisting of excellent percussionist Fritz Hauser, and two keyboard players, Stephan Ammann and Stephan Grieder. Their sole, self-titled album consists of 12 tracks, two long tracks (12+ minutes) and several shorter sketches. The short sketches range in length from 37 seconds to a little over four minutes, with most around 1.5 minutes. As you might imagine, with this line-up the musical focus is on interplay between all three musicians. The sketches are suggestions of brief musical ideas but don't have time to develop anything more than a theme statement and short variations. The two longer works show a well developed sense of style and interplay. Hauser is an excellent drummer and xylophonist. His playing is an excellent counterpoint to the interplay of the two keyboardists. Alternating between piano and synth, the sound is sometimes comparable to a stripped down version of Kenso, while other times they sound more classical in nature. The music may not be to everyone's taste. I personally enjoy this album a great deal but others think the lack of development in the sketches brings down the quality of the album as a whole. If you're looking for something unique, and enjoy good keyboards and a quality percussionist, you would do well to look into this album.

[See Circus]

Karawane der Mystiks (??)

Discography

Mini Plasticine Man (00, EP CD)

Reviews

Bob's Your Monster - Mike Pinch (Guitar), Stu Pinch (Bass) and Rob Berry (Vocals) I've been putting off writing this review. I admit it. It's because this is such a hard band to pin down and describe. The music isn't like anything else I've ever heard. It wanders around among the categories in my head and just refuses to find a home in any of them. And my perceptions change every time I listen to this little EP. I'll listen to it one day and think, "This isn't progressive at all. These guys are just another club band. But they are a little strange ... I don't think they'll ever get much radio airplay." A couple of days will go by and I'll put it on again. This time I'm thinking, "How could I have said this isn't progressive? Listen to that strange bass line on "Let Me Breathe" ... it sounds like it's ripping my woofers to shreds. And this song, "Thirteenage", it's in 11/8 for cryin' out loud! Of course this is progressive." Next time around, I'll think, "Oh, I see, this is really sort of Jazz-rock, it's just that vocalist that makes it sound strange." And so on ... I swear, it's a new CD every time I put it on. Which makes it hard to describe, but fun to listen to. Bob's Your Monster used to be called "Ouch!", but evidently that name was taken by another band (who'd have thought it?). Well, I doubt anyone's going to take "Bob's Your Monster" away from them. And, Bob is a monster, if they're talking about Rob Berry (no, not the one that sang with Emerson and Palmer on 3 To the Power of Three). He's a monster vocalist with a heavily-vibrato'ed voice which sounds like it might be more at home in a Metal band than here. But his high-register crooning is what usually captures the attention. It glides over odd-metered passages so smoothly and effortlessly, you'll be fooled into thinking it's 4/4 time, just because it all sounds so easy. The Pinch brothers, playing guitar and keys, have created some real oddball tunes here, flavored with light rock, mellow night-club jazz, and 80's top-40's sounds, then spiced it up with some progressive explorations and strange studio effects. They've come up with something so unique that they aren't even sure how to categorize themselves. I think they chose "progressive" because nothing else really fit. OK, I'll buy it. They're progressive. This EP is a pretty interesting demo, but the recording quality does sometimes show some "self-produced" problems, including subtle distortions in the vocals which don't seem like they were intended. Still, all in all, not a bad recording. If you're looking for something a little different than the usual "sounds like Yes, Genesis and King Crimson" fare, give these guys a try. The Mini Plasticine Man EP is all they have released so far, and it's available on their web site. -- Fred Trafton

Links

Click here for Bob's Your Monster web site

Discography

An Ordinary Night in My Ordinary Life (96)

Reviews

Tomas Bodin In my own opinion the better solo-record to come out of The Flower Kings family, as Roine Stolt´s effort Hydrophonia was a huge dissapointment. This however sounds much like The Flower Kings at their best, although this is instrumental stuff. It is performed by the flower guys, and plenty of Roine´s excelent solo playing thruout. For obvious reasons the keyboards have a very prominent role and nobody can layer different kinds of keyboards - Mellotrons, Hammond organs, moog synths and electric pianos - like Mr. Bodin. A virtual master at creating soundscapes without cluttering the sonics (Roine could actually take some pointers from this guy when it comes to the more busy Flower Kings segments which tend to lose an instrument or two in the mere mass of sounds). A great variety of songs, ranging from the more somber church-like music, "Daddy in the Clouds", via the freaky jazzbop tune "Speed Wizard", stopping by at the very "Revolution 9"-esque "An Ordinary Nightmare in poor Mr. Hope´s Ordinary Life" complete with "Number ten!" samples. The concluding 16 and a half minute three-piece song "Three Stories" is simply a great symphonic trip with all the ingredients you could wish for: every vintage keyboard there is must be featured on it, a couple of Roine´s solos at his most manic, and also some beautiful quiet introvert piano ponderings. A must have if ever you enjoyed The Flower Kings or groups like them, because this is easily as good as anything they have done in a long time. And you don´t have to worry if you weren´t that impressed by Tomas´ input in Flower Power, as this is much more consistently brilliant. -- Daniel

Links

[See Flower Kings, The | Kaipa | Samla Mammas Mannas | Stolt, Roine] Click here for Tomas Bodin's bio on the Flower Kings web site

Bodkin (72)

Heavy underground prog.

The Body Album (81)

Discography

Juex De Nains (86) Carillons (87) Ritual (88) Nomades (94) Offrande (95) Vu Du Ciel (98) Parfum d'étoiles (00) (ProgressoR review) Infini (04)

Reviews

Jean-Pascal Boffo Before going solo, Jean Pascal Boffo was the guitarist for Michel Altmayer's French band Troll. I'm not positive, but I don't believe Troll ever recorded while Boffo was a band member. Boffo's first solo release, Jeux De Nains, was the first ever release by Musea. Nomades is Musea's 100th release! It's also a bit odd for a Musea release as the CD was released in a digipack rather than the usual jewel case. Boffo's releases have all generally been different and this album is no different. Previous albums have been mostly acoustic guitar or electric guitar combined with synthesizers, or even a small orchestra on Rituel. The ten tracks on Nomades. The ten tracks on Nomades are a conceptual representation of the desert nomads and caravans of the Middle East and Eastern Asia. As such, the music on Boffo's fourth release is full of Middle and Far Eastern themes. Upon first listen, I thought, "yah, it's okay." Upon second listen, I thought, "hey, this is pretty good." Now, I think it's a damn fine album, full of shifting textural layers of electric guitar, violin and soprano sax, upon a base of typically Middle Eastern style percussives. Reflecting Boffo's roots, there is also a fusionesque edge to his guitar tone and fine solos. While the sinuous themes of "Snake's Dance" or "L'oeuf du Desert" can be appreciated by many Prog fans, this album is subtle enough that it can even be played during dinner for your non-Prog friends, or even your parents! That is not to say the 47 minutes of music on this CD is mere light jazz dinner music, as that would be far off the mark. The incorporation of jazz into Mid-Eastern themes is generally unique within Progressive realms, though sometimes reminiscent of David Torn's excellent Cloud About Mercury. The intertwined melodies of the three main instruments are subtle and require several listens to unravel and should delight fans of the above mentioned Torn album as well as many other Prog fans. Nomades is an extraordinary (as in out of the ordinary) album that fans of guitar-based Prog should find genuinely pleasing. Carillons, from 1987, is quite a different beast, still jazzy but without the oriental themes. Long time associate Herve Rouyer is the drummer, while Denis Batis plays synths, and Carlos Pavicich plays bass on four of the seven tracks that feature the low-end guitar (Boffo handles the other three). Ten songs range from 3:13 to 7:04 minutes and total more than 44 minutes of music. Like Nomades, Carillons, Carillons took some time to grow on me, though I think I still prefer the unique Middle and Far Eastern textures of Nomades. The cover and inside of the Carillons booklet are colorful fantasy illustrations, with faeries, elves and pixies, which sets the playful mood for this album. You'll hear dancing synths and joyous guitar in a jazzy, instrumental matrix. Nowhere is this more evident than in "Joyeuses Paques." The music is lighthearted but not light weight. When Boffo dons the bass guitar, the music takes on a zuehlish tinge underneath, perhaps reflecting his stint with Troll, while Pavicich's bass work is more melodic. Songs without bass, such as "Conte a rebours" and "Le retour des nains" enhance the magical world inhabited by such playful imps, though some bottom end is still provided from the keyboards. Boffo's guitar is heard throughout, very melodic and reserved, remaining an essential part of the mix, rather than a flashy solo artist on top of a backing band. Jean Pascal Boffo has not stood still in his musical career. He explores different styles, themes and contexts. From what I have heard so far, he has always been successful. I hope Boffo retains his artist integrity and sense of exploration for many future albums. -- Mike Taylor

Boffo was the guitarist with the legendary French zeuhl band Troll. He's released three solo albums to date: Jeux De Nains is predominantly an acoustic guitar album, with bass and synth added on some tracks, evoking a Magmoid feel. His second Carillons is the electric facet of his sound, the spotlight being shared with keyboardist Denis Batis, producing a more sophisticated and energized sound with soaring melodic guitars. His 3rd album Rituel, originally released in 1988, was remastered for CD, with three bonus tracks. Three distinct faces of his sound are represented here: The album opener is the stunning 23 minute three part symphonic title track, on which JP abstains from reliance on synthesizers, and uses a small orchestra to achieve his ends instead. The result: positively mind-shattering. The balance of the tracks fall into the acoustic guitar category reminiscent of his first album, or shorter Guitar/Synth driven progressive pieces that remind of his second. Musea promises his long awaited 4th will be out in 93.

Rituel is Boffo's third release, and the CD has 5 additional tracks not featured on the original LP. The closest comparison would be to Steve Hackett, in terms of the guitar sounds and melodies, which are aided on this release by symphonic, orchestral keyboard backing and a full array of wind instruments, especially on the three-part title track. Other points of comparison would be Anthony Phillips, especially to his later, more heavily orchestrated works, and, to some extent, Gandalf, the Austrian synthesist/guitarist, whose latest release, quite coincidentally, featured Steve Hackett to a good extent.

On Nomades, this excellent guitarist plays an electric jazz music with mid-eastern flavoured themes. Drummer (and percussions), saxophone player (soprano) and violinist are added to his solid work on guitars, bass and programming. The neatly crafted exotic melodies are developed progressively, as the intensity of the rhythmic section increases. The rich and dynamic production brings out all the nuances of the performances. Despite showing undeniable energy and becoming quite busy at times, the music has a mellow feel can curiously evokes the demeanour of a camel! -- Paul Charbonneau

[Parfum d'étoiles is] not the most mind-blowing of the latest releases of the Musea company at the end of the year, but one of the very good category. Generally, Musea started with Boffo of all people, and this is already the 8th studio album of a musician, who's become world renowned a long time ago practically equal to Steve Hackett, Anthony Phillips and another few performers, whose all but exceptionally solo career lives up to a band creation in terms of quality of the material. In fact, the quality of composing and performing of all with no exception albums of Jean-Pascal matches that of the Titans of Solo, yet their main quality is a cons