Diagonal es un periodico de información alternativa
+ info www.diagonalperiodico.net
Diagonal es un periodico de información alternativa
+ info www.diagonalperiodico.net
Review by Warthur — Suitably for its unusual cover art, Hijos del Agobio is a more mysterious and less inviting
release than Triana's debut (El Patio). The intervening time had been a dramatic era for Spain,
with the death of Franco in 1975 beginning a gradual transition to democracy which would lead
to elections a few months after this album's release, and with more directly political songs
Triana here flex their wings and see just how far they can take their newfound freedom. The
progressive side of their sound remains intact thanks to the keyboard contributions of Juna
José Palacios and the album's combination of serious and then-timely subject matter and
continued musical development makes it a worthy successor to El Patio.
Review by Morpheus Music — STYLE
Kaleidoscope is a dynamic and widely varied album of contemporary retro-influenced prog ranging from
the stomping, synth lead grandeur of Black As The Sky to the plaintive Beyond The Sun and mostly
acoustic Shine. The set opens with the ever-changing twenty-five minute epic Into The Blue which
rises wistfully out of silence with dreamy electronic textures and bowed effects before the band
piles in with an early climax. The track then drives through some heavy guitar developments before
returning to the languid opening theme and the first vocals of the album. As the track progresses it
passes through a section quite reminiscent of The Flower Kings recent Desolation Rose complete with
that familiar gritty, effected voice. Shine is a delightful piece that gradually gathers from an
acoustic guitar opening and sounds like a slightly country-influenced Pink Floyd composition
complete with storming lead break in the latter part and subtle sitar strains interwoven. The
keening, drum-free Beyond The Sun segues directly into the title track which is the other main epic
here and what a wide-ranging track this is: from seventies glam through, soporific interludes, rock
song passages, Lennonish-nostalgia, anguished and delicate recallings of the previous track with
strings and piano, acoustic strumming and a huge build up that seems somehow manage to sum up the
Having just an electronic promo of the album, I have seen only the front cover image with its
symmetrical electric blues and swirling greens. Kaleidoscope is available in a variety of formats
including a limited edition with Deluxe Artbook, 2CDs, DVD and Bonus 5.1 Mix DVD-Video in an
LP-sized book with loads of pictures, liner notes and a lenticular card cover. There will also be
2CD & DVD Mediabook, Standard 2CD Jewelcase and a 3LP & 2CD in slipcase. One of the bonus discs
contains eight cover songs of some of the band's favourites: the Yes masterpiece And You and I,
Can't Get It Out of My Head originally recorded by the Electric Light Orchestra, Procol Harum's
Conquistador, Elton John's Goodbye Yellow Brick Road, Tin Soldier from the Small Faces, the Focus
classic Sylvia, Indiscipline - King Crimson and finally The Moody Blues Nights in White Satin.
Another disc in the package is a DVD with the Shine video and a couple of vignettes.
The fourth studio album from the progressive band Transatlantic - Kaleidoscope - sees the band
consolidating their signature sound across a powerful five track suite. Delivering their debut way
back in 2000 band members Neal Morse (ex-Spock's Beard), Mike Portnoy (ex-Dream Theater), Pete
Trewavas (Marillion), and Roine Stolt (The Flower Kings) clearly still very much love what they do
and have a great talent for stitching disparate themes and stylistic elements into imaginative and
free-flowing compositions. If you enjoyed previous albums, SMPTe, Bridge Across Forever, or The
Whirlwind you won't be disappointed by this latest release. The band's official website holds a
wealth of information including tour dates, album notes, purchase options, videos and audio links.
[Singles/EPs/Fan Club/Promo · 2014]
1. Opus (3:51)
2. Shaking Hands With The Devil (4:19)
3. Messengers II (4:40)
4. Nano Prefix (3:50)
5. Machina (3:43)
Total Time 20:23
Review by Warthur — Of the various acts on the British electric folk scene in the 1970s, Trees seem to have
embraced the electric rock side of their sound more stridently than the likes of Fairport
Convention or Steeleye Span ever did. Showing a boldness in stark contrast to the quieter,
softer approach taken by many of their contemporaries, this second album presents a perfect
blend of traditional folk and psychedelic-tinged rock with long virtuoso guitar solos that I can
absolutely get lost in, courtesy of Barry Clarke. Plus, keyboardist-vocalist Celia Humphris has
an absolutely incredible, unmatched voice in electric folk. Top notch stuff, highly recommended
for anyone who digs the direction British folk rock took in the 1970s.
Review by Warthur — Rarely has a band name done a better job of providing a snapshot of a group's sound. On their
first release for widespread consumption, Throbbing Gristle present pulsating, ugly industrial
soundscapes in a live and studio context. It certainly isn't for everyone - as a terrifying audience
confrontation at one point amply demonstrates - but at the same time this groundbreaking
material is a lo-fi, grainy snapshot of the birth of industrial music and has few if any
precedents. This birth of a new sound is a minimalistic thing and those who prize pristine
recording conditions will find its low budget production difficult to engage with.
Review by b_olariu — Lalu is a prog metal band who release two albums since now. The name of the band is take from the
musician's name Vivien Lalu, he is more of a guest musician and composer than playing in a single
band, working with some great bands from metal zone like Shadrane or with the german musician Hubi
Meisel. Second album was released in 2013 named Ark after almost 8 years silence from this band.
Another impressive line up with bass plaer from Symphony X - Mike LePond, guitaristSimone Mularoni
from DGM, excellent omnipresent drumer Virgil Donati, Martin LeMar with vocal duties from Tomorrow's
Even and now in Mekong Delta and of couse Vivien Lalu on keybords, so a super group. The album,
musically is not something new, but is very well produce and played, creating on some pieces a
atmopsphere hard to describe in words, you must listen to convinced is great. The progressive metal
is on every track, good chops and time signatures, delivering a solid metal album. The musicianship
is tight and awesome. Each instrument sound crystal clear. Something to mention is that while all
the music is composed by Lalu he never bursting on keys, he doesn't have fast key solos, he only
keep the atmosphere of the piece on the right direction. I might say he has some very intristing
arrangements, he never shows his technical playing like other prog metal kyebordists but for sure he
can create some beautiful soundscapes and intelligent elements. In the end even I find Ark a quite
solid prog metal album, I don't think is better then the first, but close I might say. Forte tune
Revelations, an epic clocking around 20 min, a real pleasure.3 stars rounded to 3.5 for sure.
Review by b_olariu — Hoggwask is a project who begun to take form around 2006 when excellent musician Antony Kalugin from
Ukraine and Will Machie from Wales got together and since then the collaboration between them was a
real succes. Hoggwash released so far two albums, one in 2007 and second in 2013 named Spellbound.
Besides Kalugin and Machie are lots of invited guests to complete the overall sound of this album.
The music is on the symphonic/neo prog side, well performed and with good musicianship, what suffers
little bit are the ideas, who are far from bad but kinda same with what was done in the past by
other bands from this genre. Influences taken from Camel on the smoother parts, Genesis for
symphonic side, Saga for the pompous passages, etc. Hoggwash sounds not very much alike with other
two great bands from Kalugin sleeve , Karfagen and Sunchild and is a good thing, because is showing
how versatile is this musician, being able to come with a vast palete of sounds, twists and turns. I
find him one of the best prog musicians in past decade. The best tune of the album to me is the
opening Soldier Of Fortune, sets the mood for the entire album, symphonic prog as must sound this
style, well performed with great musicianship , nice vocal parts, all is here. The rest are ok, most
of the time, maybe to much vocal orientated in some passages, but ok. I wish I can hear more
instrumental passges. Anyway good album for sure, Hoggwash needs attention, but I prefere Karfagen
and Sunchild more. 3 stars rounded in places to 3.5. Nice art work and overall package, remind me of
Pirates from Carraibe.
Review by Gatot —
Well, I have to admit that I only knew the music of this band only sometime five years ago
when a friend of mine indicated that he has the CD of this album. When I listened to this one,
I did not try to push or relate very hard with who's who of the band members even though my
friend told me that he had this album due to somehow related to Deep Purple as Rod Evans
was here. I tried to spin the album as objective as possible without any preconceived mind
about what style of music they play or they should play. The result was a great experience.
First off, I had a feeling about vintage sounds the band play along the way through the tracks
presented at the track list. My first reaction, the guitar playing is marvelous and admire it. It's
not something compared to how Ritchie Blackmore or Jimmy Page play but to me the guitar
playing is something that really sound raw with minimum effects such as baby cry and many
guitar fills played around the tracks. The track duration is basically short with some of them
only one minute more. However the flow of tracks are really nice and I got no trouble at all
listening to the album in its entirety. Opened with some sort of raw drumming the "Dancing
madly backwards (on a sea of air)" (4:02) moves beautifully with excellent vocal line by Rod
Evans. The music is dynamic and relatively fast tempo and then continue to second track
"Armworth" (1:48) that serves as a bridge to the next "Myopic void" (3:30) smoothly.
"Mesmerization eclipse" (3:48) is another rock outfit that impresses me in its dynamic and
relatively fast tempo. It continues to "Raging river of fear" (3:51) neatly with good transition.
While "Thousand days of yesterday (intro)" (1:19) is ambient in style, it then moves
beautifully to a dynamic "Frozen over" (3:46) with energetic guitar and vocal line combined
with inventive drumming.
Composition-wise, all tracks are excellent and different than typical hard rock music as they
impose also some psychedelic style in the music. The melody is basically standard with not
so much memorable pieces but all of them lumped together with excellent harmonies
stemming from instruments played by the musicians involved. I fail to identify tracks that
become my favorites. The reason is simple: this is the kind of album that must be enjoyed in
its entirety - so it's hard to identify which tracks are best. I just enjoy the flow of music ...and
Peace on earth and mercy mild - GW
[Video · 2014]
1. TNTK Part I / Part II (Thomas Kurzhals)
2. Die Sage (Martin Schreier, Lothar Kramer / Norbert Jäger)
3. Was bleibt (Thomas Kurzhals / Norbert Jäger)
4. Eine Nacht auf dem Kahlen Berge (Modest Mussorgski, musikalische Neufassung: Thomas Kurzhals, Stern-Combo Meißen / Norbert Jäger)
5. Der Eine und der Andere (Thomas Kurzhals / Kurt Demmler)
6. Der Frühling 2013 (Antonio Vivaldi, musikalische Neufassung: Thomas Kurzhals)
7. Reiter der Nacht (Martin Schreier / Norbert Kaiser)
8. Das kurze Leben des Raimund S. (Thomas Kurzhals / Norbert Kaiser)
9. Ein Tag, ein Jahr, ein Leben (Frank Schirmer / Norbert Kaiser)
10. Lebensuhr (Thomas Kurzhals / Norbert Kaiser)
11. Weißes Gold (Texte: Norbert Jäger unter Verwendung von Motiven von Kurt Demmler):
a. Ouvertüre (Thomas Kurzhals, Lothar Kramer)
b. Der Traum (Peter Werneburg)
c. Des Goldes Bann (Thomas Kurzhals)
d. Der Goldmacher (Johann Kuhnau, musikalische Neufassung: Thomas Kurzhals)
e. Die Flucht (Thomas Kurzhals)
f. Zweifel (Reinhard Fißler, Thomas Kurzhals)
g. Die Erkenntnis (Reinhard Fißler)
h. Weißes Gold (Thomas Kurzhals)
12. Der Alte auf der Müllkippe (Stern-Combo Meißen / Kurt Demmler)
13. Licht in das Dunkel (Stern-Combo Meißen / Kurt Demmler) / Mütter gehn fort ohne Laut (Thomas Kurzhals / Kurt Demmler)
14. Also was soll aus mir werden (Martin Schreier / Kurt Demmler)
15. Der Kampf um den Südpol (Stern-Combo Meißen / Kurt Demmler)
16. Stundenschlag (Thomas Kurzhals / Werner Karma)
17. Rabe-Medley: Leben möcht' ich (Martin Schreier / Burkhard Lasch) / Mein Weg (Martin Schreier / Ralf Schmidt)
18. Wir sind die Sonne (Thomas Kurzhals / Ralf Schmidt)
Der Rückblick auf 49 Jahre Stern-Combo Meißen
same titles in differnt order
[Compilation · 2014]
1. Thank You [ 04:39 ]
2. The Day Before You Came [ 05:06 ]
3. A Forest [ 06:04 ]
1. The Guitar Lesson [ 04:03 ]
2 Sign `o` The Times [ 03:55 ]
3 Lord Of The Reedy River [ 05:03 ]
1. Moment I Lost [ 03:12 ]
2. Please Come Home [ 03:30 ]
3. Four Trees Down [ 03:33 ]
1. The Unquiet Grave [ 06:57 ]
2. Well You`re Wrong [ 03:35 ]
3. An End To End [ 05:12 ]
Review by siLLy puPPy — Most of the time in music history progressions are made by tiny increments of experimentation where an artist tries something new and it is incorporated into the works of others and so forth and so on but the 1960s were one of those decades that was a musical equivalent of the big bang of ideas and innovation and JIMI HENDRIX and his EXPERIENCE were one of the innovators of this musical explosion with a totally new sound, style and approach on the musical landscape.
ARE YOU EXPERIENCED? was an immediate and outstanding success. Only a year before Jimi was struggling to survive covering R&B songs as a back-up guitarist but as his latent talent was gestating he managed to capture the attention of Keith Richards' girlfriend who ultimately introduced him to Chas Chandler (of the Animals) who catapulted him from rags to rock'n'roll riches in a very short time.
This album took the world by storm. Jimi perfected the feedback guitar sound that the psychedelic world only hinted at and delivered a burst of energy to the whole musical industry that single-handedly inspired the whole world we know today. He was the prototype for heavy metal as well as blues rock, psychedelic music and outlandish stage antics such as his famous burning his guitar on stage or playing with his teeth. Mr Hendrix literally dropped the equivalent of a musical bomb on the world which reverberates into the present world. Although it took me a while to appreciate the album as a whole (I always liked a few cuts) I now can't imagine how the world of rock music would be the same if Jimi hadn't contributed his signature sound to it and this album has grown on me. The varied influences ranging from soul, blues and total freakouts conspire to make one of the most influential releases in the entire history of music.
This is another one of those albums where the UK and US versions differed substantially. The UK version had the rather uninspiring black backdrop with the members posed while the much better US version had the Summer-Of-Love psychedelic cover. The track listings were different as well. For some strange reason the most familiar songs "Purple Haze," "Manic Depression" and "Hey Joe" were left off the UK version despite being huge hit singles there.
Review by Progrussia — ACT is backt! After an 8-year silence since their last album, Silence. Their goofy faces (as in their photo on this site) should in the
encyplopaedia under eclectic prog. I define their style as Broadway heavy music, or a metal band indulging their Queen, disco-era ELO and that funky-reggae craze many rock bands underwent at the 70-80s border, with a healthy dose of playfulness.
ACT are no strangers to the more-sinister-than-it-seems-by-the-playful-music epic concepts. In this regard, Circus is most similar to their best work, Last Epic. It's tight, well-produced (if a bit too heavy on the guitar side) and catchy as hell. But, like similar efforts - after a long wait - by popular bands such as Arena or Fates Warning, feels kinda perfunctionary. Less fresh and diverse. Evil circus must be the most overused concept in culture. Stylistically, they mostly stick to heavy power-pop here (heading into outright metal territory by the end), and instrumental jams overuse the stop-start heavy riffing- softer keyboards pattern.
Good, but they can do better.
Review by lazland — I am presently reading a book entitled The Blunders of Our Government, which is an entertaining look at the (many) cock up's that
our political and establishment leaders inflict upon us. One such blunder was the shockingly expensive Millennium Dome built and
populated for the new century celebrations, but, in reality, a rather crass "Cool Britannia" stunt inflicted upon us by Blair and co.
The book details the mess in some detail, but does not mention once a certain Peter Gabriel, who, having plotted several similar
(aborted) projects elsewhere in Europe over the years, got the gig to compose and coordinate the musical extravaganza at the
Dome. There is a reason for this, and it is a simple one. By and large, his contribution, and the music that found its way onto this cd,
was a success, artistically, if not commercially (it bombed, but, then again, so did Passion, which I regard as his finest work ever,
including his Genesis period).
Gabriel, very much in keeping with the political thoughts of the time (multi cultural society & etc.), took his base from the pioneering
Real World work and artists he had nurtured, together with stalwart long term collaborators such as Levin and Rhodes. It is, like
Passion, a collection of songs and ideas that tell a story, except there are, here, more lyrics present.
The cd did come with a booklet, which gave an insight into the story of the show. It, to quote, tells the story of three stages of our
evolution, through the lives of three generations of a family. It is the story of a family in transition, divided by internal conflict, and by
the great changes going on around them. It is also a story of forbidden love.
There's straightforward then, eh?
Musically, it is grand, exceptionally well produced, complex, and not for those who seek a "quick fix", which is why, of course, it
didn't sell too well. When you hear the pounding, urgent, intense drums on The Time Of The Turning (reprise), though, you simply
sit agog and wonder at the genius behind it. For sure, if you enjoyed Rhythm Of The Heat on PG IV, this is for you.
A couple of tracks, those, it is fair to say, more "traditional" Gabriel tracks, became long term live staples. My personal favourite is
Father, Son, a quite gorgeous tribute to his and our fathers', recognising those special moments we have and had with the man
responsible for who we are. The brass section on this, by the way, brings the track an intensity and emotion that the live version
could never have. There is also Downside Up, sung here by Elizabeth Fraser (of Cocteau Twins) and Paul Buchanan (The Blue
Nile), a track which I think is sumptuous, but did sound better vocally live with Gabriel and his daughter Melanie, although having
said that, the live version could never capture those incredible closing rhythms and beats heard here.
Also, in case people thought this was a mainly cosy affair, we do also have Gabriel at his most industrial and explorative, witness
The Tower That Ate People, which then morphs into the recurring African beat of Revenge. The whole album closes naturally, and
impressively, mixing the tuneful, emotional, adventurous, and as an ensemble piece, with the very long (for solo Gabriel) Make
This album deserves to be featured more highly in any appreciation of Gabriel than perhaps it is at present. Full of great ideas,
almost perfect production, and thoughtful music which did far more to promote and capture a multi cultural country, society, concept,
and continent than any politically correct cobblers forced on the population by New Labour. Going back to the book I am reading, it
is no accident that Gabriel is not mentioned as one of the Dome blunders.
Four stars for this, an excellent album, only just falling short of the extremely high standards set by Passion. I cannot recommend it
Review by Angelo — It took a while...
...before I got around to writing a review for this album. A bit over 14 months ago, I got a
copy through valued ProgArchives member Kati, who did the art work for the album.
Across these 14 months, I've played the album a number of times - at home, in my car, even at
night in a tent in Slovenia. Every time, I heard something new, in this interesting melting pot of
music. Some folk like things, some Marillion, Pink Floyd, but also the occasional 1970's Deep
Purple or Free riff.
Wonderful, but at the same time requiring you to really listen in order to be able to enjoy it -
there is so much going on, and not everything is as easy to grasp casually. The album is a so
varied that it gets hard to describe everything - so I'll refrain from that. Instead, let me point out
that the musicians who joined project leader Colin Tench on this album are amongst the best
on their respective instruments, that the compositions are truly prog worthy and I only `realised
on the third spin that the album was not fully instrumental.
All in all, a prog journey worth taking, best experienced on a warm summer night, in front of
a tent in Slovenia.
Review by apps79 — Reverie were born in 1996, direct out of the ashes of the Italian Symph Rock outfit Lethe, led by the guitarist of the later Valerio Vado and female singer/percussionist Fanny Fortunati.Their history is taped on three demo tapes from 1998, 2002 and 2004 respectively, they basically started playing in a Symphonic Prog style similar to Lethe and developed finally into an Ethnic Prog Rock ensemble, continuously expanding their line-up.By 2008 Vado and Fortunati were surrounded by their long-time flutist Fulvia Borini, Alberto Sozzi on keyboards/wind instruments, Daniele Defranchis on guitar and Andrea Amir Baroni on keyboards/harp/cello.It was time for the band's first full-length album ''Shakespeare, la donna, il sogno'', released as an independent production.
At the time Reverie ended up to be a small Chamber Folk orchestra, always adapting progressive flourishes in their style, and presenting an album full of ethereal soundscapes, angelic vocals by Fortunati (in three languages!) and smooth Prog-inclined textures, closing to the styles of GRYPHON and MANEIGE, without being excessive and focusing on atmospheric themes.Two particular styles are easily detected in the album: a mostly acoustic one with an intense lyricism, influences from Medieval Music and impressive executions on flutes, acoustic guitars, mandolin and clarinet, delivered by the band as a sweet orhestral combo and aiming towards nostalgic ages from the past.The second one is a more balanced effort with keyboards in evidence, but always strong acoustic overtones, having an obvious tendency towards the Baroque period and evident Classical overtones.Every style though is performed with detailed, almost flawless performances, even a bit of an upgraded electric background seems needed, and the music passes nicely through mystical periods, melancholic undertones and joyful moments.
A different face of Acoustic Progressive Rock.Intricate and atmospheric music with sensitive lines and beautiful vocals, a must-have for any fan of Prog Folk.Warmly recommended.
Review by lazland — After the heady excitement, Ibiza grooves and all, of Tubular Bells III, Oldfield decided to indulge himself, and absolutely nobody
else, for this, his follow up album.
Actually, that is such a misleading description. This is a follow up to nothing except, perhaps, a need by him to simply pit down
some licks and ideas on the instrument which, quite clearly, he is most adept at.
Thus, we have a veritable smorgasbord of ideas here, ranging from identifiable prog, to virtuoso acoustic, misplaced metal chords,
to even country and western, via Celtic folk and easily recognisable Bells sequences.
There is virtually no structure to this album at all, but, as those of us who love and appreciate Anthony Phillips' noodlings will
appreciate, that is not necessarily a bad thing. There are occasions when you wish to sit down, with a good set of headphones, and
simply lie back and let the sound of a class musician, playing his instrument of choice, wash over you. It is, actually, worth buying
for Muse alone which is an exceptionally beautiful composition, and one of his finest.
Three stars for this, a very good and satisfying work, without being remotely essential or crucially important. It was, though,
somewhat brave after the commercial success that Bells III brought.
Review by octopus-4 — I've listened to this album a huge number of times before writing this review. Its a good album showing
excellent musicianship, it has a good concept and shows an excellent knowledge of history by the
lyricists, it has all the ingredients to be a masterpiece but there's something wrong.
Several times I've tried to understand what I don't like in it, why I'm unable to get it.
After repeated listens I think I have found the reason. There are bands which have repeated almost
the same song for ages: in the pop world I think to R.E.M or Dire Straits. I can enjoy one or two of their
songs, but at the third I'm bored, it's always the same song.
For Ingranaggi Della Valle it's different: they don't repeat the same song, their compositions are very
well arranged and orchestrated, I really like the vocalist, but what doesn't change it's the
mood. "Cavalcata" and "L'Assedio Di Antiochia" are excellent songs, but I can rarely resist to listen to
the whole album in one shot.
It's very likely my issue, not theirs. I'm sure that I'm failing to enter into this album, it's not the album
failing to catch my interest.
Anyway, the band deserves attention and I'll be happy to hear their future outputs. This "In Hoc Signo"
has some very good moments, a keyboardist whose skill is somewhere between Emerson and
Wakeman, they have the vintage sounds that I usually like, they have violin, flute, ethnic instruments...
well, it's possible that sooner or later I'll completely rewrite this review. This album has everything it
needs to be called progressive, all the required ingredients...why it doesn't make for me it's still a
But it's good. I can not like it, but from an overall and detached point of view I must say that it's a good
album and most of the prog, and in particular, RPI fans will love it.
Review by siLLy puPPy — I had no idea what to expect with this one. To me Jack Johnson is a guitarist / singer / songwriter
who plays poppy folk but he wasn't even born yet when this one came out. Having no interest in
boxing I was clueless that this was in fact a soundtrack that was created to accompany a documentary
about the boxer Robert Christgau who later took on the name Jack Johnson. I also thought it was
strange that a jazz musician would compose a tribute to a boxer. Well it turns out that Davis was
asked to do this and because he related to the life story of Johnson he decided to take on the project.
After I popped this in for the first time I was perplexed a second time. This starts out sounding
like a rock album. No jazz at all. I had to check the CD to make sure it was the right one. Yep.
Sure was. OK. Play on I did. It turns out that much of this 2 track album was improvised totally by
accident. That bluesy guitar we hear on the opening track "Right Off" was basically John McLaughlin
improvising a B flat chord on his guitar while waiting for DAVIS to show up. Herbie Hancock who just
happened to be in the building was brought in on the spot and added his keyboards. One thing led to
another and a side long track was born. The second track "Yesternow" is one very long spaced out and
repetitive number. Taking up half of the album this is long and lends to a hypnotizing state that
for me is better served as background music than full-on attention mode as it is a slow subtly
changing variation on a B-flat chord finally changing to a C minor half way through.
This album represents the total cross-pollination of the music of the era. No longer was progressive
music just rock borrowing from classical and jazz, but now the other way around and although Davis
started this on IN A SILENT WAY, he was a master of changing things up on every album and this album
only takes that strategy further. In fact his fusion shows an appreciation for Sly And The Family
Stone in "Right Off' where it contains a riff from "Sing A Simple Song" and on "Yesternow" the main
bassline is a version of "Say It Loud ... I'm Black And I'm Proud" by James Brown. Although I can't
say this is my favorite MILES DAVIS album, I sure think it's a very good one despite it sounding a
tad repetitive on the second track but it is perhaps the most rockin' of his entire career.
Review by Menswear — Not what you think!
It's exaggerating greatly to say that Gryphon committed treason to their sound and their fans with this
album. I'm actually surprised by the negative comments above. I kinda understand their deception;
you have to remember that Gryphon was (and still is, frankly) so superior in writing and execution than
everybody else. Few could come close to being that skilled, but a lazier album by Gryphon is STILL
better than many, many other 'classics' in the prog world (*cough* ELP).
I do agree, they changed their approach: less medieval, more Yes-like, more vocals, more
catchyness, more love-oriented texts and a general less 'showoffness'.
You STILL have an above-average record with lots of hooks and a Fairy Tale mood that will still satisfy
your hunger for mind-blowing prog.
Not a Treason by any means, just more pressure from The Man.
Review by Kingsnake — Excellent instrumental progressive spacerock.
All the elements are present for a full hour off tripping progmusic.
Nice, melodic keyboards, aswell as guitarwork, thundering drums, constant changing
rhythmpatterns and good compositions.
The bass is really loud and takes a leading role in a lot of songs. It reminds me of Anekdoten
The music itself sounds like Ozrics and Hidria Spacefolk but Moonwagon rocks harder.
Extra flavours are added via use of accordeon, acoustic guitar, organ, percussion.
Moonwagon is a real adventurous musical group and takes the listener on a journey through a
I don't know about other albums by this band, but I will definately search for them.