Espresso - "Espresso" ALBUM REVIEW (Instrumental Prog Rock from Chile)

by Dean Wolfe, Prog Dog Media    [album released Sept. 2, 2022]

Considering it's a debut release, Espresso has emerged as a cohesive, mature and confident prog rock fusion quartet brimming with strengths.

The album is simply and ably produced- formidably creative and fresh throughout. Guitarist Fernando Meneses Díaz says that the band wanted the material to be reproducable on stage without sacrificing anything for a live audience's listening pleasure. 

The members of the band were humble as we spoke about how they collaborated together to create this new album, faced as they were with Pandemic lockdown logistical complications (see the interview on Prog Chat #14 here). Some of the material originated in a previous project but great effort was made to incorporate the newly added keyboard elements to the album's songs.

The guys in Espresso have different focuses as far as musical influences, but King Crimson and Rush do surface time and again. And in all fairness, Allan Holdsworth, Steven Wilson and ELP do come to mind as I listen. Worth mentioning too that being Chile natives, I do detect that culture's inevitable welcome influence in spots. Depeche Mode is an influence in the keyboard department.

A brief word about each musician: 

Elías Orellana Gómez is the quintessential drummer that everyone wants in their band- clean and precise, and a clear candidate for future 'best drummer' category vacancies. 

Bassist Pierino Madrid Pruzzo is a serious player, super-capable, busy, but never obtrusive. He doesn't just play the bass, he explores it. 

Guitarist Fernando Menesis Díaz plays big and broad, moving between colourful and nebulous atmospherics to focussed, mean and 'shreddy'. 

Keyboardist Wilfredo Salas González: It's nice to hear a keyboardist that feels essential and omnipresent in a band rather than being an add-on or mere padding to a project. 

No need for a singer on the album. There's plenty here to engage the ear. 

'Cooler'- has a fantastic dirty grinding theme groove. This composition hints how this band nimbly moves in and out of shadows, and in and out of sections with ease. It's full of plays on time signatures, and features bass and guitar prominently with solid support from synthesizers as is the case on much of the album. The jazz fusion feel is established here as well and sets a tone for the album. The guitars have an Alex Lifeson-esque tone. 

'Nuevo Horizonte' is exciting and quick paced. It features lead synth pulses and jazz fusion ear-bending chords emphasized on Fernando's wah wah pedal. Also we hear some cool drumming work while we listen to atmsopheric recorded astronaut radio chatter. 

'Io' is a most unpredictable song. It starts off with spacey chords, and the bass plays a key role again. Then there's a feel-change and a new monster riff, and then back to spaceyness. Probably my favourite moment on the album is when we hear the latin music influence with a piano section that I only wish there were more of on this album- the Latin American vibes compliment prog fusion surprisingly well. The bass plays has lines that will motivate any musician to want to figure out what Pierino is doing. Then we have some really shreddy guitar solos showing again how Holdsworth has influenced so many guitarists. 

'Kosmos' shows off Espresso's diversity as song composers. It's complex (as usual) but easily accessible. The bass starts the song with multi finger hammer-ons.  There's some playful teasings of smooth lounge- jazz in there- and this perhaps hints at native Chilean music. There's more spacey-ness with walking baselines and synth sweeps, plays on complex time signatures over busy keyboard lines, and even a surprise mini-drum solo à la Ringo Starr meets David Bowie.  

'Dimensión Fractal' -is the track that sneaks up on you- and has some of the most exciting moments of the album. It starts off melodical and unsuspecting, then grows into a winding journey with an epic finale. Acoustic piano plays a big role here, which is a refreshing change as synthesizer dominates most of the album. There is a truly freaky and mischievous time shifting section to delight your musical senses. Fernando rounded the track out with some amazing shredding in the finale while Pierino rips the bass chords and Elías double-kicks up a storm. 

The 6th track, called 'Rollercoater', no doubt as a kind of description of what the song contains: plenty of musical twists. It could be a definitioin of the band as a whole as well. It doesn't sit idle! This band is so interesting when pushing into mysterious and darker territories as well- not just the fun and cheerful stuff. Lots of timesignature flirtatiousness here and the bass plays a large role in parts.

Vórtex is yet another example of how Espresso's compositions always keep you guessing. There's some off kilter riffs, cool synth and guitar work, complex descending chords and down-and-dirty riffs, and cool synth work. And of course some playful time signatures. 

Prog dog score: 4 out 5 bones. A tight, cohesive album of instrumental prog fusion capturing great moments between band members- and plenty of well-composed musical highlights - a big thumbs up for the new kids on the Chilean block! 

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listen/buy music from Espresso here: 

http://espresso.bandcamp.com/

Listen to my prog chat with Espresso here.

Moon Letters - "Thank You From the Future" ALBUM REVIEW (eccentric prog rock)

by Dean Wolfe, Prog dog Media   [album released August 15, 2022]

Every once in a rare while, a new band you've never heard of confidently grabs your attention and won't let go.

Moon Letters, a humble 5-piece act from Seattle Washington- just independently released their 3rd album. It's interesting how they play with the concept of time in the title: Thank You From the Future because their music easily straddles between the present and the past of prog rock dynasties.

Moon Letters get straight to the point and from the first seconds of the album you are reassured that progressive rock is alive and well, thank you very much.  There's no wearing it close to their vests- it's on full display for all to see, and if it doesn't raise any eyebrows, I'd be surprised. 

They exploit this genre with great confidence. They keep engaging the listener with their peculiar fresh energy and a seemingly boundless reservoir of creativity and originality. Nothing stale about this collection of 7 songs, despite the fact that there's plenty of winks at the prog traditions that they are undoubtedly steeped in. 

Each song is packed with tasty and quirky instrumental sections but there's no conflict with the singing. Three members are credited with vocals, and Michael Trew takes the lead position, also playing the flute. His voice reminded me a bit of Saga's Michael Saddler but I'm not sure who else to compare him to. Like everyone in the band, he's very talented at what he does and fits the whole of the band's sound perfectly. He has a unique and dramatic presence at times. As far as the lyrics, the official bio says 'the album's lyrics explore personal growth, the future of the world, and sci-fi imaginations of the space age.' (Right up my alley..)

If they ever have a hit song, it will be of the Bohemian Rhapsody variety. Moon Letters are relentlessly progressive. At times the music is a bit frenetic, but it's part of their overall charm. They don't sit still or repeat themselves. When I listen to the album I definitely feel like I'm listening to a 'band' - in the proper sense of the word. For example, like the unmistakeable chemistry you feel when listening to a band like The Doors. If there's an epic-ness to this band, it's less connected to the production and more about the enchanting songwriting. There are hints of psychedelic in some parts of songs, but it's not a dominant flavour.

Listening to Thank you From the Future reminded me a little of discovering Yes' Fragile for the first time- it covers many bases of emotions and mysteries and has a unique fingerprint. 

Prog dog rating: 4.5 out of 5 bones. There's not much to fault when 50 years after prog was invented, a new band sounds so familiar and yet can challenge and engage you with its' original and cohesive sound. 

https://www.moonletters.com/

watch our prog chat with Moon Letters here

SIGNALS - "Lunar Landing" ALBUM REVIEW (Rush-inspired rock/fusion)

by Dean Wolfe, Prog dog Media   [album released November 7, 2022]

Rush is noticeably absent from the prog rock scene. After decades of heavy touring around the world and 19 studio albums the band called it quits in 2015, and recently with the passing of drummer Neil Peart any hopes of a reunion were dashed. 

This has encouraged a small cadre of decent Rush cover bands to recreate and perpetuate an impressive legacy of prog rock classics to Rush-starved audiences on small stages across the world.

One such exceptional trio is called Rushour, based out of Orlando Florida. Though they have worked since the late 80s in various formations actively performing Rush covers, they recently struck out on their own writing and performing original compositions. They unapologetically wear their love for Rush proudly on their sleeves.

They took on the new name Signals, and in 2022 released a debut CD called "Lunar Landing" along with several videos posted on YouTube. 

The first track sounds impossibly Rush-like. 'A Day in the Night' is a solid and well-written song that's thick and lusciously produced with Alex Lifeson-esque tones, snappy drum parts and round and plucky bass lines. Vocalist / bassist Chad Kulscar's voice is capable and pleasant, but not at all Geddy Lee-like (which I consider a plus because it would be eerily uncanny if he were a Geddy Lee clone).  The chorus is just profoundly good. I love this track - it's one of my faves off the album. Is this a lost Rush song discovered on some mislabeled dusty reel of tape in a recording studio somewhere? Feels like it.

Listening to the CD got me wondering: if there's such a thing as fan fiction in the book market, is there a musical equivalent? Can musicians pick up where their musical heroes left off? 

Rush influences abound throughout Lunar Landing, but beyond track 1, the band's own style and uniqueness shines though more and more, though they make no attempt to conceal their affection for Rush.

Angular, is also a favourite. It harkens a little more to 70's Rush. Guitarist Sean Ghannam demonstrates his mastery of incredible clean and distorted tones, not to mention fingering some amazing chords that immediately got me guessing 'what is that'? The title, Angular, is appropriate to the song structure as well- it takes plenty of right angle turns from section to section with unlikely variations that work well. There's some great clean, pretty sections and rockier, nastier riff sections that see the bass and guitar mimicking each other in tight syncopations. It got my head bopping. Chad's vocals are nice and smooth. 

'Seahorses' demonstrates the band's confident adventurousness. A grooving instrumental, there's nothing lacking here in the musical skills department. Sean gets down with some great guitar solos at times sounding almost *Holdsworthian (Allan Holdsworth). Drummer Reed Hayes does some amazing work on this song- a treat to hear such precision and energy. The jazz fusion side of the band becomes more obvious here as well. Chad has some moments to shine with a bass solo. 

'Lunar Landing' sees us return to the irresistible and poppier side of Signals. It's kind of Rush-like, maybe Signals-album comparisons, but their own sound is strong here.  The verse shows an amazing symmetry among the band as songwriters- it's economical and exciting. There's a bridge in the song has a Grace Under Pressure flavour. Overall it reminds me of the greatness of Rush as a songwriting band and how this greatness is bound to rub off on all who bask in that glow. 

'The Time Machine II' is another great instrumental. It's an exciting and energetic track, demonstrating the refined symmetry this trio has as musicians who have performed live for years together. There's foot triggered pedal synth lines throughout the song, proving it'll take a lot to exhaust the possibilities of such basic musical technology. Both Chad and Sean play them.  There's plenty of room for Reed Hayes to express himself across the drum kits, including electronic. There's the definite sci-fi-ness coming across in the song as we hear a menacing alien voice over a public address system among spacey sound effects. I suppose there may be more of a 2112 or Hemispheres-album vibe here. This would be great live.

NOW we get into what feels like the deeper-cuts of the album- songs that probably won't appeal to a wider audience if they were used as introductions.  

Track 6- 'The Tracking Station' has finger picked clean electric guitar parts and more single note pedal synths. There is a feeling of homage to Rush in parts -perhaps more to 70s and 80s era. Chad has some mechanical-like thick harmonized effected vocals going on in parts. Unlike Rush there are strong jazz fusion elements to the songs, as well as 80s' era Presto album similarities. It's a neat blend of styles. Again Sean breaks out the solos. This song is a bit of a mish-mash, maybe a little darker in tone and more experimental than any track on the album so far. 

'Here I am' is a bit darker in tone once again but has some breaks of angelic sunshine bursting through the clouds. It features a lot of synth bass lines as well as sections of innovative busy bass guitar lines that move sections along as if floating on air. Chad's style of vocals become obvious here- he likes to sing broadly, often holding and stretching words- floating them in the air rather than keeping them transitory.

Lastly the CD ends with a 'bonus track' which sounds a lot like Steely Dan. 'City Lights' has plenty of parts where the bass gets busy and riffy. Plenty more great soloing in the guitar department too. The drums are driving and holding it all together, if not pushing it up a notch, but at times Reed lays it back into a jazzy swing groove. Chad employs an envelope filter for some of his bass solos, and is not shy with his slap thumb on the fat bass strings. 

Prog dog Score: 3 out of 5 bones.  Overall, Signals band gives us plenty to air drum to. There are some really really strong Rush-like tracks here. The CD also reveal hints of Signal's own style. This originality gets more exposure in the latter half of the CD, where Rush-ness gets abandoned. This seems appropriate because I would be uncomfortable if a band didn't let their own uniqueness shine through. Perhaps let A.I. do some copy-catting in the future.  I look forward to more original songs from Signals because if this is merely their first go at it we could be in for a revelation. The prog force is strong in these kids. 

rushourband.wixsite.com

Watch the interview with Signals HERE

( I don't consider myself much of a lyric specialist so minimal comments on that department, apologies).

Morgan Reid - "Terran" ALBUM REVIEW (Instrumental Prog Metal)

by Dean Wolfe, Prog Dog Media  [Album Released Nov. 25, 2022] 

I remember back in the day when guitarists like Eddie Van Halen, Yngwie Malmsteen and Steve Vai were raising the standard of electric guitar playing to god-like levels. This had a dual effect of inspiring a new generation of guitarists but at the same time discouraging new musicians from even trying. 

Thankfully the current generation of guitarists dropped any inclination to hide their secret sauce from the masses and opt instead for the transparency of teaching lessons online for anyone willing to give shredding a shot. After all, it all boils down to at least some natural inclination, invested time and discipline.

Morgan Reid is a Toronto born guitarist of notable ability, who is releasing his first solo instrumental prog metal album. He is a member of UK-based Bloodshot Dawn. On his new overall 'heavy' album he performs as well as produces and composes. He even plays piano one track. 

I'm happy that this new album Terran is more substantial and creative than I had originally expected. I might be forgiven, considering Reid's obvious prowess as a speedster around the fretboard. I had needlessly worried the music would be secondary and just serve as a platform to endlessly show off. 

I am a fan of traditional prog rock from the 70s, but have been actively learning to appreciate prog in all its forms, old and new. 70's prog this is definitely not, but despite that, I did detect hints of Steve Hackett compositional style (Genesis/solo) in parts. I won't lie- hearing how classic prog still has an influence 50 years later, no matter how subtle, is reassuring. 

It's a well-produced album, being pleasant and balanced to the ear throughout, except track 9 seemed overly bright (small complaint). 

The album starts off running, and as a listener I found it a bit like trying to get into the door of a moving street car- you kind of have to already be moving forward to catch your ride. The bass stands out on a few of the tracks more than the rest, but is generally pat down in supporting role along with the drumming which is quite technical overall, with modern style 16th bass kick notes throughout the album, familiar to the modern prog metal genre. 

'March On' is the spot where I felt some Steve Hackett vibes. 

'Goliath Online' is very djenty, and shreddy and having grown up through the old school days was reminded of Steve Vai and van Halen with the screaming fast playing and heavy squaks. This song more than any other did feel more like a showcase for the guitar playing rather than a composition for melody's sake, but that's fine- as the whole album is not like that, and frankly, plenty of guitarists want that. 

'Djinn & Juices' has a middle eastern vibe- it's fun and has great bass parts. To me it's very Yngwie Malmsteen- a bit masculine, maybe macho even, with a melodic chorus and fascinating guitar harmonies. 

'Terran', the title track, maintains a Steve Vai level of amazing-ness.  It gets interesting compositionally speaking, and has lots of innovative textural shredding. I found it motivational. You will shake your head at the incredible speeds and wonder how he does it.

In 'A Formless Icon' Reid shows off some amazing fanning technique work. The track has a cool symphonic vibe. It has 'cool dips'- sorry, that's the only way I can describe it. This song marks the first easing off at the gas pedal for the album, if only briefly. This track as some exceptional synth textures. 

'Chimerism' is my fave. Finally some messing around with the time sigs in weird and affecting ways! Super wonky, time-bending and tricky, with heavy synth- again recalling a bit of Steve Hackett.  

Up next is 'Grand Champ' (featuring distinguished cellist Friedrich Thiele) is probably the catchiest song on Terran- the 'hit single' if that was necessary. It's got an immediate catchy chorus. The descriptor 'trimphant' comes once again to mind.  As I listen through this album I'm impressed by how much work went into it. We are introduced to a stunning cello section that adds so much to the overall character of the album. It feels like a natural fit.

'Obsidian Interlude' is a short and lovely piano composition, not played by a guest musician, but by Morgan Reid himself, reminding us that he is a gifted musician. It brings balance to the album so far, and is a perfect breather/break.

In 'Bending Light' we return to the slammin' and great big feeling vibe, and the only track on the album with a less then perfect mix or mastering job (It's too bright). 

'Intrinsic Code' features a very exciting and cool descending riff. It's more of a 'song' song. I can almost imagine a singer wailing away on this track unlike all the previous tracks. It's got a very likeable and melodic chorus. Stated simply, it got me head boppin'. I wonder at this point, where does Reid get his energy? What a wonder!

'Sirsasana' is a quick tone poem where Reid solos with himself playing lead over a clean guitar. Id like to hear more minute-long pieces like this in the future!

During the last track 'CRISP' it happened. I did a record-playing equivalent of a double-take. Who knew Morgan Reid was holding anything back after 11 tracks? "Let's hear that track once more," and I hit repeat. I'm impressed when the best is saved for last. This is a damn high level frenetic energized track. There's some unique disconnected-sounding riffing and some fine compositional work including some bold dissonance. The bass sounds great in this track. For a third time that word comes to mind: triumphant. Plus elation. It's crazy fast. There's some interesting multi-tracked hammer ons in the back ground. The last moments of this album feel like an archicteurael cupola- or crown on a beautiful, functional building. I dare say Morgan Reid should feel proud of an album WELL DONE!

https://morganreidguitar.com/

Watch the interview with Morgan Reid HERE

Capermote - "Echo Chamber Puppeteers" ALBUM REVIEW (Instrumental Prog Metal Guitar)

by Dean Wolfe, Prog dog Media   [album released August 14, 2022]

I've been a fan of instrumental guitar-based music since the 80s. Guitar Player Magazine Hall of Fame member Steve Howe (of Yes) is one of my faves. He has an extensive discography of such pioneering guitar-based albums dating back to 1975. The one and only missing thing I pined for from Howe's works were more modern guitar distortion tones. 

Enter Capermote (a tasteful solo project of Tom Pearce) and his 2022 EP release Echo Chamber Puppeteers. As this album unfolded before my ears, I felt flashbacks to my favourite Steve Howe instrumentals as if they were being transformed into contemporary creations. 

I'm not comparing Tom Pearce to Steve Howe as a guitar player per se, as much as comparing the 'complete package': a lovely balance between being a player that doesn't play fast just for fast's sake, and is also a serious and creative song composer. 

Despite the EPs limited size compared to a full LP release, it's surprising how far and wide the landscape of sound varies. Pearce enlisted the help of guitarist James Ivanyi to co-produce Puppeteers, and clearly they work well together. The 3 songs of this EP are focussed yet spacious, and the vision is solid.

Pearce's compositions deliver subtle tensions, glancing beauty, and sweeping hugeness with plenty of tasteful synth awesomeness and tight drum production. With his guitar being the main featured 'voice' on the album, he has plenty to say, and it's melodic, expressive, clear and confident. There's a conservative amount of shredding (of course!), but it's all song-driven. His guitar-ego, if he has one, is kept in check. There are multitracked tasteful guitar backing parts as well- string pinching cleans, airily picked reverberating cascades, octave pedal use, and toying with some odd time signatures. 

It would be cool to hear Pearce pull out the acoustic guitar here and there, as Howe is known to do. Or maybe on future releases he would dare re-employ his old violin which he played when he was younger- to broaden the palette of sonic colours even more. 

I immediately hit 'repeat' at the conclusion of every listen to Echo Chamber Puppeteers, and look forward to hearing more from this Adelaide-based Australian guitarist. 

The Prog dog score is 4.5 / 5 .   Take note of Capermote...Tom Pearce knows how to strike beauty and tone both as a composer and a guitarist. 

I interviewed Tom recently on a Prog Chat linked HERE 

https://capermote.bandcamp.com/album/echo-chamber-puppeteers

MAGMA - "Mekanïk Destruktïw Kommandöh - M.D.K." ALBUM REVIEW (French Prog Rock, 1973)

by Dean Wolfe, Prog dog Media  [album released May 6, 1973]

(French translation below)

Hang on tight. Magma is supernatural. Magma plays by its own rules. It is an unusual, rocking and intensely powerful music. 

Is it everyone's cup of tea? No, but that didn't stop Rolling Stone from pronouncing it #24 in a Top 50 list of the greatest progressive rock albums of all time. 

Since the purpose of this article is to review the album called MDK by this revered French band and not to give a history lesson, I'll direct you, the reader, to a definitive documentary on the band and its founder Christian Vander called To Life, Death, and Beyond - The Music of Magma. https://vimeo.com/219457248. 

M.D.K. features a large swath of instrumentation and is quite orchestral. It features plenty of soft and gentle moments but more vigour and loudness.  Most unique is a very sizeable group of female and male 'lead singers'- vocalists who collectively head the songs instead of a traditional single lead singer. The drum kit is played by the founder and beating heart of the band- Christian Zander. He figuratively and literally drives the music forward with great force.  

There is an electric bass, capably and creatively played- at times as complex as any Chris Squire Yes parts- and speaking of Yes, there are hints of Topographic Oceans 'weirdness' on this album- including brief moments of destructive bass-chords. There is an acoustic piano- a key element to the sound, at time playing catchy parts in odd time-signatured 'loops' that remind me of composer Philip Glass. There is rock organ. There is a powerful horn section. There are strings...I think. That's a plus about Magma's music on this album- it's quite varied and changes up from section to section. I hear marimbas and other tingly tinker instruments- like xylophones maybe. I hear electric guitars- Santana-esque at times, at others clean and melodic. I hear woodwinds- and some Celtic lilts at times too. Then there's those strong but subtle undercurrents of jazz occasionally spilling to the surface. In fact at around the 11 minute mark on side 1 it sounds like Pat Metheny Group would sound at least a decade into the future. 

The lead vocal- usually sung collectively- do give the music a rock opera vibe but without any hint of vaudeville schmaltz, or hokey Jesus Christ Superstar-ness. It remind me of Zappa sometimes (though I'm no Zappa expert yet). And the singers are singing in the invented Kobaïn language that Magma is apparently known for. At the start of the record it sounded kind of German.  There's something about singing in a made up language that frees the singers from all convention- and they do let it rip, sometimes to near ecstatic and passionate heights. 

The album feels like one long song though it is technically seven tracks. It has tension; it has funk; it has groove; it has madness; it has ecstasy; it has moments of sheer joyfulness.  All of these quantities and qualities flow around each other like so many white capped waves on a single ocean...Refreshing? Yes! but be warned: at times you will feel you're clinging onto a raft in a raging storm.  

FRENCH VERSION (google translate)

Critique d'album - MAGMA - Mekanïk Destruktïw Kommandöh -M.D.K. (1973)

par Dean Wolfe, Prog Dog Media

Accrochez-vous bien. Le magma est surnaturel. Magma joue selon ses propres règles. C'est une musique inhabituelle, rock et intensément puissante.

Est-ce la tasse de thé de tout le monde ? Non, mais cela n'a pas empêché Rolling Stone de le classer n°24 dans le Top 50 des meilleurs albums de rock progressif de tous les temps.

Puisque le but de cet article est de passer en revue l'album appelé MDK par ce groupe français vénéré et non de donner une leçon d'histoire, je vais vous diriger, le lecteur, vers un documentaire définitif sur le groupe et son fondateur Christian Vander appelé To Life , La mort et au-delà - La musique de Magma. https://vimeo.com/219457248.

M.D.K. dispose d'une large bande d'instrumentation et est assez orchestral. Il comporte beaucoup de moments doux et doux mais plus vigour et de volume. Le plus unique est un groupe très important de «chanteurs principaux» féminins et masculins - des chanteurs qui dirigent collectivement les chansons au lieu d'un seul chanteur principal traditionnel. La batterie est jouée par le fondateur et cœur battant du groupe, Christian Zander. Au sens figuré et au sens propre, il fait avancer la musique avec une grande force.

Il y a une basse électrique, habilement et créativement jouée - parfois aussi complexe que n'importe quelle partie de Chris Squire Yes - et en parlant de Yes, il y a des notes de "bizarrerie" de Topographic Oceans sur cet album - y compris de brefs moments d'accords de basse destructeurs. Il y a un piano acoustique - un élément clé du son, jouant parfois des parties accrocheuses dans d'étranges «boucles» rythmées qui me rappellent le compositeur Philip Glass. Il y a un orgue de roche. Il y a une puissante section de cuivres. Il y a des cordes... je pense. C'est un plus de la musique de Magma sur cet album - elle est assez variée et change d'une section à l'autre. J'entends des marimbas et d'autres instruments bricoleurs, comme des xylophones peut-être. J'entends des guitares électriques - Santana-esque à certains moments, à d'autres propres et mélodiques. J'entends des bois - et parfois aussi des rythmes celtiques. Ensuite, il y a ces courants sous-jacents forts mais subtils de jazz qui remontent parfois à la surface. En fait, à environ 11 minutes sur la face 1, on dirait que Pat Metheny Group sonnerait au moins une décennie dans le futur.

La voix principale - généralement chantée collectivement - donne à la musique une ambiance d'opéra rock, mais sans aucune trace de vaudeville schmaltz ou de hokey Jesus Christ Superstar-ness. Cela me rappelle parfois Zappa (bien que je ne sois pas encore un expert de Zappa). Et les chanteurs chantent dans la langue inventée Kobaïn pour laquelle Magma est apparemment connue. Au début du disque, ça sonnait un peu allemand. Il y a quelque chose dans le fait de chanter dans une langue inventée qui libère les chanteurs de toute convention - et ils la laissent déchirer, parfois à des hauteurs proches de l'extase et de la passion.

L'album ressemble à une longue chanson bien qu'il soit techniquement composé de sept pistes. Il y a de la tension; ça a du funk ; il a une rainure; il a la folie; il a l'extase; il a des moments de pure joie. Toutes ces quantités et qualités coulent les unes autour des autres comme autant de vagues coiffées de blanc sur un seul océan... Rafraîchissant ? Oui! mais attention : vous aurez parfois l'impression de vous accrocher à un radeau lors d'une tempête déchaînée.

UK -"UK" ALBUM REVIEW (Classic/1978 Prog Rock)

By Dean Wolfe, Prog dog Media  [album released May, 1978]

That fateful day 40 years ago is still vivid in my memory, when I held this album in my hands at the record store but decided against buying it. Imagine passing up this classic! 

The reality was, in those days as a 12 year old, cash was not flowing. With my earnings from picking fruit in the orchards across the Welland canal opposite from my hometown of St. Catharines Ontario (birthplace of Neil Peart) or with some birthday money, I had to weigh with great care my album purchases (Later on I went through the torturous process of deciding whether I should even buy Yes' Going for the One because several of the songs on it were already on the Yesshows live album we had at home. Imagine missing out on Awaken? or Turn of the Century?).

So when I had a chance recently to buy this on vinyl, I snapped it up. At last, I had my opportunity for redemption as I've been on semi-holiday from prog rock music since the mid 90s more or less.

First, some general impressions: There is a hint of ELP intensity in this album. But no other prog bands come to mind as far as comparableness. It's unique. 

I'm amazed with every listen how Bill Bruford's distinct sounding drum kit and playing style brands every song with his unmistakable presence.  I love how he moves in and out of juxtaposing parallel rhythms opposite the rest of the band while flawlessly keeping the tempo afloat. He always exercises restraint in his playing- keeping it nimble like a more traditional jazz drummer. Still though, he's no 'rock' drummer. Nevertheless, he fits right into a rock group setting- kind of an enigma!

And then there's Allan Holdsworth. It's hard to trace back and find any guitarists as hopelessly unique. His super quick slurs of notes and brain twisting chords pepper the album. 

John Wetton has that familiar and husky sinewy voice. He's a weighty songwriter, a storyteller of substance. I think he's similar to Sting or Geddy Lee, as a bassist and singer combo.

When not playing timeless and exceptionally tasteful keyboard parts Eddie Jobson steps out from the keyboards and plays some mean violin - on full display in songs like Alaska, Time to Kill. He is so adept that at times I thought I was listening to Holdsworth on guitar rather than Eddie furiously bowing the horsetail hair over his plexi transparent violin- the first of it's kind secured in time to use on this album. 

Track one, In The Dead of Night, is not a surprise to me: I'd heard it back in the day and loved it, but I didn't realize what I'd heard on the radio was just one part of three sections plus a reprise. It has an iconic 70s feel- almost like the Rocky movie theme done in prog rock style- with plenty of testosterone and fist pumping excitement- a great welcome mat for the rest of the album. 

Of all the tracks, Thirty Years reminds me the most of my familiar 'One of A Kind' album by the Bruford band, an album I played to death as a young new prog jazz fan. In fact that would be the album that solidified it for me.  Some of the bass tones on this song sounded pleasantly familiar- just like Chris Squire's bass on his classic solo album 'Fish out of Water'. 

Nevermore is a treat: listening to Holdsworth on acoustic steel string for the intro- don't think I ever heard that before! Not surprisingly its' one of 2 songs he holds a songwriting credit. It features some of those Holdsworth trade-marked demented brain-twisting chords. Also something I've never heard before: Holdsworth's soloing being mirrored by Jobson on the keyboard. There's also some cool ambient segue's and transitions. I was even reminded of Pat Metheny as Wetton vocalized through some dizzying jazz chord modulations. Good stuff!

The introduction to Alaska reminds me of Saga's intro on a track released in 1980 called 'Careful where you step', and one of my faves off the Silent Knight album. It's obvious they were inspired by UK. 

Mental Medication is a cheering piece, a happy number to me. The band's charm shines through. There's some great soloing from everyone, and Bruford feels a bit lighter and more whimsical than usual on this track. There's some nice mild and relaxed moments in the intro, with some subtle violin and wispy Holdsworth chordings, opening the way for some Wetton jazzy vocal calisthenics, and some complex riffing. For the instrumental interludes we hear Wetton break out sweet hot bass lines, thumping and plucking away. We are even treated to Holdsworth going all-out Queen a la Brian May, on some seriously melodic multitracked thickness (also in Nevermore).  

But be warned! You may not get this album all at once. I had to return to it a couple times to ingest all the songs as a whole. I couldn't be happier now that I've put in some listening time- it's a rewarding and satisfying album rife with melodic creativity and captured chemistry between a cast of high caliber musicians.