'From A Page' is a surprising new mini-album/EP/box set or whatever it is. It was released in late 2019, and it ultimately features a 25-minute side one that consists of four previously unreleased studio tracks, written by no other than Oliver Wakeman. He was inspired to release those after the Chris Squire's sad passing.

'From A Page' features also Chris Squire himself, Alan White, Steve Howe, and Benoit David on lead vocals, the guy who sings on the excellent 'Fly From Here' from 2011.

Sides two and three are occupied by the released in 2011 double-disc live album 'In the Presence', recorded live in Lyon. Here we can also appreciate a Roger Dean artwork.

Not bad songs for sure, Oliver Wakeman has interesting ideas and it is good that they released this, as it shines a little bit more light over the line-up featuring Benoit David.

— First review of this album —

Another terrific persuasion has come out to us. A Californian combo Arms of Tripoli, hailing from Los Angeles in 2011, finally released their latest ep titled "One Way Plastic" in July 2020 via Fluttery Records. Luckily the label's recommended them with the album for me a while before, and their 33 minute show upon the ep completely knocked me out, honest to say. Their post-rock / post-metal sound verdicts based upon strict, precise rhythmic turf are not monotonous but full of vitality and vivacity, amongst lots of post / stoner acts. Forgive me digressing but I've had kinda similar impression when I met a bottle of superbly matured Islay malt whisky. Just an off-topic though.

Anyway let me go back to reviewing ... Firstly let me suggest the last longest track "Lander", maybe their masterpiece. Atmospheric darkness based, repetitive phrases filled with drowsy shoegaze guitar chanting are crazy good. Although a quick listen might give you inorganic, monotonous impression, the whole track is pretty diverse and kaleidoscopic. Not only metallic expression but mellow, hallucinogenic aspects can be heard here and there. The first shot "Edwards Edward" is a killer. As the track goes ahead, their play gets more and more powerful and explosive. Fantastic is their melody line flavoured with melancholic, tragic polarity regardless of loud distortion of the guitar. The following one "Pseudo Recreations" is a colourful one. In the beginning are rhythmical acceptable sound tensions, whilst the middle part has downtempo underground-ie drone movements. And the compilation of their sound vision blooms eventually in the latter phase. Such a musical development like this would be your pleasure. "She's Onion" is another deep heaviness. Not sure what the title means but I guess it means an appearance that onion pieces overlap each other and the core is mysterious? The content sounds likewise obviously with their strong intention, at least for me. My fave "Nude Hawaii" is the shortest in this album but a tremendously serious slow ballad.

Thanks to Taner of Fluttery for such a brilliant recommendation. I feel quite happy to come across such an excellent stuff.

[Originally published at The Progressive Aspect]

I have noticed a strange phenomenon this year. For whatever reason, though there have been many (and will yet be many) albums playing upon the theme throughout the years, 2020 seems to have a disproportionately high amount of albums describing the cycle of birth, life, death, and rebirth. Already this year I've listened to Kala by Mobius, Metempsychosis by hubris. and The Return by Deep Energy Orchestra, which all recreate the idea musically. Golden Caves use Samsara as a reverse allegory in their song of the same name, further describing the theme of their album, Dysergy. And Eternal Wanderers and Postvorta appear to play with the theme, too, on their albums Homeless Soul and Siderael, Pt. One. Outside In add to this number, with their new album, Karmatrain.

Karmatrain looks at samsara through the famous story from Hermann Hesse, Siddhartha. I've been aware of Siddhartha since I was a teen, but have never been compelled to read it. Karmatrain is the first piece of music that's made me want to read the text that inspired it since I read Kahlil Gibran's The Prophet after listening to Mad Season. By the time I read the story (which I did online from Project Gutenberg), I had listened to the album several times, and it only increased my enjoyment of both, recognising where bits and pieces fitted. Outside In have structured their album to match the way Hesse structured his story ' in two parts, the first four chapters (or songs, in the case of the album) representing the Four Noble Truths, and the remaining eight representing the Noble Eightfold Path. Outside In have produced a beautiful set of lyric postcards which illustrate these, lending one more layer to the story.

Two paragraphs in, and I've not even begun to describe the sound of Outside In, but I do think it's important to address how much thought and detail has gone into the creation of Karmatrain. The album takes a listener on a journey, and the careful consideration that has gone into the creation and sequencing of the tracks really pays off. Looking back on the reviews I've written this year, the most common criticism I have comes down to sequencing. No matter how strong a song is, it can become underwhelming or overblown, depending on what it comes after. There are no such concerns when it comes to Karmatrain. The album flows like the river which provides such meaning within the story.

Opening track Let Me Go is a beautiful entry point to the album, showcasing Mikey Brown's gorgeous vocals, and Adam Tobeck's drums ' both of which I find myself drawn to again and again, through the album. Adam's drumming is very reminiscent for me of Steve Judd of Karnivool, which is definitely no bad thing. The band name both Radiohead and Karnivool as two of their many influences, and Let Me Go definitely evokes both of these bands, while not sounding like either. Recent single Blue Dragon follows, and I'm compelled to mention the other member of Outside In's rhythm section, Elliott Seung Il Park, whose bass shines on this track ' and damn he and Adam are tight. They propel this track forward, often playing in a style more jazz than rock. As a single, this track showcases how the band really could do well, mixing complexity with accessibility and progressiveness with listenability.

The jazz vibes continue with the more subtle and understated Echoes and Stepping Stones. The song ebbs and flows, yet even while it seems to pull back at times, it keeps building and building, until it bursts, leaving the delicacy of Bridges after the storm. The way this song lyrically and musically matches the feeling left after hearing Echoes is incredibly effective. It also works perfectly in its place, matching the feel and meaning of the complementary chapter in Siddhartha, ending the first part of the story/album. I had listened to the album several times, before reading Siddhartha, and also before having received the postcards which accompany the album, so had no way of knowing this was the end of the first part of the story ' and yet, I knew.

Morning Warning, therefore sounds like an opening number, and the A Perfect Circle influence shows even more strongly than when I first noticed it in Blue Dragon. It also reminds me a bit of Alice in Chains. This is such a strong song, and one of the highlights of the album. The almost abrupt way it ends, and The Lake begins has the effect of almost creating a segue, so that if not paying attention, a listener might not realise the songs had changed. Apart, that is, from the difference in atmosphere. Morning Warning is ominous in tone, while The Lake sounds far more positive and upbeat. This is another song which might have made a great single, with a soaring chorus once more showing what a powerful singer Mikey Brown is. And the guitar solo is easily one of the most enjoyable and engaging on the album.

That said, the following track The Garden of Light was a single, and perhaps was chosen because it captures a little of the spirit of both the preceding tracks. The band name A Perfect Circle and Porcupine Tree as influences, but this track is more Tool-like than A Perfect Circle, and more Riverside-like than Porcupine Tree. Actually, I'm often reminded of Riverside, and the way that band takes the sound of Pink Floyd and gives it a more modern and metal feel, bears more resemblance to Outside In's sound than Porcupine Tree for me.

Mushrooms is the point in Siddhartha where the main character contemplates suicide, and so begins in a suitably melancholy manner ' with, again most suitably, Outside In's Radiohead influences back to the fore, before switching to a disturbing A Perfect Circle vibe. This is one of my favourite tracks on the album, and crescendos beautifully towards the end, matching the optimism of the chapter of the story it complements. The use of dynamics, and light and dark, is wonderfully played upon throughout the album. This occurs again within the next track, The Ferryman, which crosses back and forth between extremes. And while there are sound effects throughout the album (most notably providing the audio separation of the two parts of the album, between Bridges and Morning Warning), the birdsong at the end of The Ferryman are my favourite.

Pass on the Flag was the first single from Karmatrain, and ironically, complements its respective chapter in Siddhartha in a way it was not intended. I find the chapter where Siddhartha attempts to 'pass on the flag' to his son frustrating, and this song, too. Thankfully birth the story and the album are back on track with Om. And, again, Outside In have perfectly matched the tone of the text they've taken inspiration from. Siddhartha could have ended easily after Om. And Karmatrain could have had the perfect ending in Om. Om reads like a closing chapter, and Om sounds like a closing song. Instead we have the longest song on the album, I Am Not The One, which transcends the story of Siddhartha ' for while the final chapter of that story is a reiteration and explanation of what has come before, it feels slightly redundant. The closing song on Karmatrain may serve the same purpose, but it does so far more engagingly. It's a truly glorious and triumphant song, and I'm sure will be a favourite track for many listeners.

Based upon Karmatrain, Outside In have a great future ahead of them. Hopefully this album gains notice outside New Zealand ' something many great Kiwi bands have struggled to do. Kia kaha, Outside In ' karawhiua!

Oh, the 70's! The decade of the double live album! So many masterpieces came from that time: Deep Purple with Made In Japan, Uriah Heep with Live, Wishbone Ash with Live Dates, UFO with Strangers In The Night, to name but a few. Even live triple albums were game in that category (Yessongs and Welcome Back My Friends..., were the prime ones). Well, it seemed a sure shot for everyone. And even some, say, "second league" bands did release some at least very good ones. So when I found out that Germany prog rocker Jane did theirs, I smelled something good. And, thankfully I was right. Jane never really got much of my attention at the time, for there were so many better and more creative groups releasing far superior albums at the time, even in that country (Triumvirat, Ammon Dull II, Eloy and others). But nowadays I tend to appreciate their work more. And as a live band they do sound better than in the studio, at least for me.

At Home Live was recorded at their hometown, Hannover, and so, the audience was truly a fanatical one. Everything work on this album: the cover the repertoire, the performances, the production, even (excellent picture of Mars landscape). I was drawn to this record mainly because it featured ex Eloy Manfred Wieczorke on keyboards, so I knew it would have lots of heavy Hammond runs, and sure enough they are there. Jane never really got too sophisticated or complex as its contemporaries, and it shows on the longer tracks, where it is clear they are not capable of long solos or jams and are relying a lot on Wieczorke's talent to hold things up. Although it does not always work, most of the time it does. And, what the hell, it is a kind of "best of" compilation, I guess the songs featured here are indeed their best so far. I'm not so fond of the last track, the unreleased Windows. With its 20 minute long running time it shows that it was a good idea not to commit that one of their studio album. Typical at the time it has its moments but could have been cut to one third of its length for a better result. But I guess they had to prove they could deliver their "epic". It was kind of obligatory in the 70's to do such thing, I guess, even if you could not really handle such undertaking.

All in all a real good live album, Not really a masterpiece, but a solid work with probably the best songs and performances of those guys. And I love those vintage keyboards sounds!

Rating: 3,5 stars, that I will round to four because of those great keys!

After the successful LLDB making up for an absence as notorious as Peter Gabriel, the visible image and dominant presence of Genesis was not easy. Strenuous and sterile auditions saw countless possible replacements pass unsuccessful.

And the answer they were looking for outside was at home. Phil Collins, impeccable in percussion forever, takes on the role of singer and did it well. He is not Gabriel, that is clear, despite his efforts to look like him. But A Trick of the Trail is a very good proposal that continues with the progressive cleanliness. It also adds more accessible and less intricate elements, what doesn't mean that it didn't detract from the final result, supported by those excellent musicians who are Hackett and Banks.

The album began in such a good way, with the bombastic Dance on a Volcano. Followed by the deeply melancholic and perhaps for that reason beautiful Entangled, by Hackett's 12-string guitars and Banks' final mellotron. In my opinion, this is the best Genesis ballad in their discography. The fantasy and powerful Squonk reminds us that the mythological characters are still part of their inspiration. And then, we enjoy Banks' mastery of keyboards with Mad Man Moon and Robbery, Assault, and Battery. The last is also the closest reference to his previous records. Both the extensive ballad Ripples and the surprising pop-twinned song A Trick of The Tail are its least highlights. The album closes with Los Endos, an excellent instrumental execution.

In short terms, A Trick of The Trail is an excellent album in which Genesis began to say goodbye to the more progressive Genesis. They did that respecting its past while continuing looking into the future, what constitutes its greatest merit.

𝗟𝗶𝗸𝗲 𝗘𝗟𝗣 𝗯𝘂𝘁 𝗕𝗲𝘁𝘁𝗲𝗿 | 𝗝𝘂𝘀𝘁 𝗔𝘀 𝗚𝗼𝗼𝗱 𝗔𝘀 𝗧𝗵𝗲 𝗗𝗲𝗯𝘂𝘁

So first off, this album has the format of ELP, A Bassist, Keyboardist, and Drummer. Second, people say this isn't as good as the debut, but I beg to differ. With no Holdsworth, the jazzy elements have left the group's texture, however they are left with the virtuosity of Eddie, and his extreme classical training. This has a bit more hard rock, but it's way more classical than the debut, it's has more atmosphere on places like "Rendezvous 6:02", and "Danger Money", more complex songs like "The Only Thing She Needs", and "Carrying No Cross", while "Ceasar's Palace Blues", and "Nothing To Lose" are a mix of both atmosphere, and complex, but it also adds more of a hard rock feel to make the album more enjoyable for a more commercial crowd... yeah right. Let's be honest, this album would never be accessible to any crowd except the prog audience. John Wetton's voice on both UK albums is just way to weird for any audience other than the prog audience. His bass playing is also really complex and well done, he is a really good bassist after all, he isn't just a fantastic singer. Terry Bozzio is a scary good drummer, his technique, drum sounds for the time, backing vocals with Eddie backing Wetton just works.

So this is Prog, I don't agree with some people who say that this beautiful album isn't prog. If it's not prog, than what is "The Only Thing She Needs" or "Carrying No Cross"? Yeah... this isn't prog... yeah ok. Anyway, fantastic record, well produced, and the playing is top tier, this is the ultimate supergroup.

ODD TIMES is the new album of Mr Alberto Rigoni from Italy,one of the most talented bass players of his generation,a body of work which delivers year after year excellent albums of instrumental prog fusion!This ODD TIMES album is kind of accomplishment,both in terms of composition and technical skills!Definitely,it's the most mature and elaborated album to date,truly excellent and very inspired!I can say in the same time,it's the most prog metal album of all his solo releases and,as usual,has an excellent sound,a majestic production and a gorgeous digipack presentation!The sensational German wonder drummer Marco Minnemann is invited once again to join the party and proves why he is considered one of the best drummers of our days!The true revelation on the album is Alexandra Zerner,a sensational musical discovery,a great musician in charge here with the keys and guitar parts,very tasty and catchy!The structure of the album is very well balanced, we have here plenty of technical displays and magical moments and the tracks are flowing in a very enjoyable manner,offering to those who love instrumental prog fusion some fantastic moments!To be fully understood and appreciated,the album deserves many auditions,but each time there are great musical discoveries guaranteed,to the enchantment of all good music lovers!The artwork is spectacular too,so the whole package is a major accomplishment for it's author!Great album and all our respect for a great musician ,ODD TIMES is an almost a perfect album!4.5 stars well deserved for me!

Emerging from the icy fjords of Norway's northern regions, the interesting prog act PIXIE NINJA came into existence int he year 2015 courtesy of the combo interests of Jostein Haugen (guitar, bass, keyboards) and Marius Leir�nes (guitar, bass, keyboards) who fancied classic progressive rock sounds fortified with the perfection of modern day production laced with progressive electronic experimentation. The duo together with the help of several other musicians released its debut "Ultrasound" in 2017 and while not exactly conquering the world by pulling a Wobbler certainly has attracted a stealthy cult of followers of which yours truly has been a part of.

While prog and experimental bands come and go these days it's never certain if any given act will followup an album or simply find band member incapabilities too great to carry on. Well lo and behold three years later in 2020, PIXIE NINJA returns with its stealth sophomore release COLOURS OF SPACE which finds three original members: Haugen, Leir�nes and Mattias Olsson (drums, mellotron) back in the NINJA's seat along with newbie Fredrik Klingwall joining in on grand piano, mellotron and keyboards. Gone is flautist Keith Einarsen leaving the core of the band a mere quartet but in his stead is a variety of guests to add the sounds of extra vocals, a cello, a French horn and extra guitars and organs.

While dark prog sounds stem from myriad sources, it seems that the themes of H.P. Lovecraft have catapulted him into some kind of patron saint status as one of instrumental prog's chief influences for creepy brooding sounds that tackle the bridge-building synthesis of the prog sounds of yore along with modern experimental touches. In the running time of just over 38 minutes, COLOURS OF SPACE casts the Lovecraftian spell through five instrumental tracks that are perfect extensions of the stylistic approach heard on "Ultra Sound" only teased out in more of a post-rock procession with more emphasis on the electronic aspects. While the "Red" era King Crimson guitar chugs still fit in at select moments, while "Ultrasound" was a more of an Earth-bound concoction, this second coming simulates the coldness and alien nature of outer space.

PIXIE NINJA employs the bounty of vintage instrumentation with tasty sounds of the Orchestron, maestrovox, fender rhodes and mellotrons making contact with the most sophisticated modernity in the form of contemporary synthesizers and production techniques. The overall effect is a timeless one as neither does the music emulate the past, nor does it exactly find refuge in the present thus making PIXIE NINJA's instrumental heft exist in its own little vacuum of reality. Unlike the debut there are vocals on this one however they are wordless and used as an extension of sonic pastiches to provide counterpoints to the already rich and diverse soundscapes at hand. Generally speaking the album kicks of with the title track that provides a motif of swirling electronica poised in post-rock procession which makes you wonder if the NINJA has left the rock aspects behind but by the time you reach the fourth track "Hutchinson Cipher" it's apparent that the rock bombast of "Ultrasound" has not been jettisoned but rather conserved.

While comparisons can be made between bands of the classic years of prog and the present, i find it difficult to compare PIXIE NINJA to any other bands contemporary or retro. Sure there are the classic KC moments, golden year symphonic touches as well as the post-rock comparisons but really this Norwegian band has comfortable found a niche all its own and although not exactly comparable reminds me most of the soundtrack creepiness of 70s Goblin. Think of a modern take on "Suspira" with different instrumentation and a completely different approach and that's the closest comparison i can muster up. For my own personal tastes i think i prefer the debut to COLOURS OF SPACE but this second offering has a more diverse roster of mood setting motifs and a more colorful palette of sonic exploration. This is without a doubt an excellent slice of the visionary possibilities of classic vs contemporary prog and one of my favorite releases of 2020 so far.

This UK Neo-prog formation was founded in 1985 by singer Brian Donkin and singer/guitarist Andy Lawton. Two years later the band released its debut entitled Channel 8 (a demo tape), in 1989 followed by The Time Has Arrived (also as a demo tape). In 1992 Final Conflict released the album Redress The Balance, my first musical encounter with the band. I even witnessed Final Conflict in the legendary Dutch venue Paradiso in Amsterdam during a SI Music triple-concert (in September 1992), with Dutch formation Wings Of Steel and fellow UK band Galahad. One year later Final Conflict released Quest. Then the band kept on releasing albums but with long breaks: Stand Up in 1997, Hindsight in 2003, Simple in 2006, the release of Final Conflict its first live DVD and CD entitled Another Moment In Time in 2009, Return Of The Artisan in 2012 and recently The Rise Of The Artisan (2020). This is the second part of a trilogy, 'The Artisan' is a character struggling in a world dominated by mercenary and financially based decision makers. Meanwhile long-time drummer Chris Moyden died in 2005, due to a long lasting disease, his loss was a great blow to Final Conflict, both personally and musically.

Over the last 35 years Final Conflict have gigged extensively both in the UK and abroad, and continue to generate an increasingly substantial fan base both in the live arena and through their back catalogue. Its success was acknowledged in 2007, when they were nominated in 5 categories at The Classic Rock Society's BOTY awards. They were voted second best band and also received rave reviews for their powerful live shows. In 2008, at the same awards, they were presented with the MD's award by Steve Hackett of Genesis.

I was very curious to this album (featuring founding members Donkin and Lawton) because I haven't listened to Final Conflict since Redress The Balance and Quest, and because its music is way more appreciated after these two albums. The precursor The Return Of The Artisan is even considered as the band its best work, so high expectations! Well, during my first listening session I notice that this Final Conflict sounds 'a million miles' more interesting, dynamic and elaborate than the Final Conflict I know from the 1991 and 1992 albums. A strong point is the colouring of the music by the guitars and keyboards, in almost every composition these instruments add a special flavour. Like a spacey synthesizer solo and a fiery guitar solo in A Clockwork Echo. Pink Floyd kind of guitar parts in Stop & Stare, a pitchbend driven synthesizer solo and fiery guitar in the hypnotizing 4 Domains. Catchy piano runs with strong vocals in This Pulse. And lush Hammond organ and mellow vocals in the final song Breaking The Cycle (post Roger Waters Pink Floyd atmosphere).

My highlight is the titletrack. First sound effects, then a tight beat with a bombastic sound delivering powerful organ and guitar riffs, no doubt, this is the realm of Neo-prog (with hints from Pallas). Next a mellow part with piano and tender vocals, gradually the music turns more lush featuring sultry keyboard sound, pleasant vocals and powerful guitar riffs. After a mellow part with a dreamy Floydian synthesizer solo and moving electric guitar solo, finally a slow rhythm with melancholy vocals, culminating in a bombastic conclusion with a compelling guitar solo.

Well done by these Neo-Prog veterans!

My rating: 3,5 star.

This review was previously published on the website of Background Magazine, the oldest Dutch progrock source.

The first thing that I noiced at the first listen was the clean voice of Mike Brown. I find it similar to that Of Marius Duda. Proceeding with the album the apparent connection with the polish Riverside acquired consistence. Of course this is not a clone, absolutely. I don't think Riverside have ever written something like "Bridges".

So what do they have in common? Other than the clean vocals, both the bands are very skilled and this album is also very well produced. Some passages remeinded me also of another band that I like: the Italians Profusion. This to say that what appears to be a connection to my ears is likely present in my ears only, but mentioning other artists trying to describe a debut album should help in identifying the genre and if it can appeal a potential new listener.

Outside In don't indulge in metal. The songwriting is more directed to solid melodies and quality arrangements. Some songs are also radio friendly, and the non-excessive length of the tracks, all around 5 minutes, will probably give the album some deserved air play.

Readin gother reviews I'm a little surprise to see that Morning Warning is not mentioned. I think it's the most various track. Also the following one, "The Lake" is very catchy. In particular this one brings to my mind the American band 1974 and their "Death of the Herald", Another album that I love.

I agree with the other reviewers about "I Am Not The One", the only track longer than 6 minutes. It's a perfect album closer. The final crescendo bring sthe listener to the album's end with a little surprise in the last seconds.

If you like any of the bands that I have mentioned here, this is for you. I also add that I'm personally bored by the Steven Wilson's productions which make every band, Riverside included, sound like Porcupine Tree. Ouside In luckily miss it.