Qui d'autre que l'autre (Lazuli, 2023)

 Lazuli, a French prog rock band whose first album was released back in 1999, wrote and performed excellent music, including many complex and unpredictable songs (even if they don't like long tracks), but - will they excuse me? - I'm definitely in love with this song: an intense, fascinating ballad. It comes from their 2023 album simply titled "11". 

This is the 10th studio album, but there was also an acoustic

collection of previous released songs, so they're right: that's 11!

The crescendo plot starts with a deep, even sensual tone and grows up and up until a rather floydian guitar solo that's simply perfect. The musical theme is beautiful, sharp and catchy (no, this is not a deadly sin) and Dominique Leonetti's vocal rendition comes like a kick inside the guts of the listener. As usual with them, this is more an inner trip than a song and I like to explore my own soul following such a brilliant guiding star.

Wychmore Hill Suite (Anthony Phillips, 2024)

We all know Ant Phillips lives in a musical world of his own, a very charming one. This track comes from his 2024 "The Golden Hour" album, twelfth installment of the "Private Parts and Pieces" series, an archival project begun in 1978. This 19 minutes suite for classical and 12 string guitars was recorded around 1989 and IMHO is the brightest gem of "The Golden Hour": varied, well balanced, full of beautiful themes and built up on a coherent, dynamic pattern. One wonders why such a beauty had to wait a release for more than 35 years. 

Ant Phillips took himself this beautiful cover photo.

Its four movements ( I. Country Mile - II. Ring of Steel - III. Peaceful Land - IV. Jack The Lad ) each feature two or three recurring themes and alternate fast and calm moments, so they're never boring and conjure up folk, gypsy, pastoral and classical roots, sounding fully English the way only Phillips can do. A parting note about the title: a Wychmore Hill doesn't exist, Ant was inspired by Northern London's Winchmore Hill: he switched to a sharper and almost medieval sound.

Pigmenti (Celeste, 2024)

Celeste doesn't need any introduction: Ciro Perrino's brainchild has its own place in Italian prog scene and since their reunion back in 2019 they never abandoned their melodic, fairy, charming sound. That said, some of the songs in "Echi di un futuro passato" 2024 album (meaning Past Future's Echoes) open up to some exciting new landscapes. That's the case with the opening track "Pigmenti" (Pigments),where Maestro Perrino and his friends successfully merge the band's traditional melodies with jazz-rock passages. 

Degrassi and Mazzeo created this stunning cover art.

Sure, Perrino isn't new at such a taste: he was part of one of the most underrated Italian fusion bands, namely Il Sistema, between 1969 and 1971, but he never dared to import those sounds into Celeste's music. He dares here and that's a very big and welcome surprise! You'll find the same theme going through different treatments: the opening jazz arrangement, a melodic rendition and even an orchestral, symphonic version followed by guitar, sax and keyboard solos! Well done... and beautiful. Not to mention the sweet  sung section and the perfect performances of each musician. Once more, thank you Celeste for being there!

Earth Hymn (Manfred Mann's Earth Band, 1974)

Manfred Mann and his Earth Band are among the most underrated acts in rock (and prog rock) history. Nevertheless, they released awesome albums and evergreen tracks, like this "Earth Hymn", part of "The Good Earth" album (1974). This is a Chris Slade and Manfred Mann's song, a majestic ballad including some stunning guitar solos and beautiful lyrics about the musical and spiritual sound of our planet. 

Did you know the first copies of this album entitled the purchasers

over one square foot or real earth in Wales?

The ecological inspiration of the album grows into a metaphysical approach in "Earth Hymn", even if nothing here sounds like tricky of sophisticated. On the contrary, you'll find a fluid, natural hymn suspended between psychedelia and prog, peace and strength. Even if the sung theme is simple and catchy, the arrangement is an ever changing one, full of beautiful surprises. In a word, a highly original and enjoyable piece of (progressive) music.

Between Air And Water (Sykofant, 2024)

"Sykofant" is the self titled debut album of a Norwergian band I immediately appreciated for their perfect balance between classic and innovative prog rock. "Between Air And Water" is their leading single and also a beautiful way to get into their musical world. On first listen, one falls in love with Emil Moen's and Per Semb's guitars, undoubtedly two skilled and sensitive performers reminding me the early Pink Floyd's mood and Wishbone Ash's double guitar work, all with a modern, eclectic twist. 

Sycofant's debut album cover art.

Then a more careful listening unfolds the stunning work provided by the rythm section, namely drummer Melvin Treider and bass player Sindre Haugen. Not only they supply an accurate but never repetitive background, but they also prepare the amazing tempo changes giving to the track an even more progressive texture. Please note that prog rock acts without keyboards are not so common and it's always a daring job, but Sykofant perfectly worked it out!

Where Oppisites Meet (Sky, 1979)

Each time I listen to a Sky's track, their rich melting pot comes to me like a surprise. Pop, rock, funk, classical music... everything's there, including that unmistakeble warm atmosphere from the late '70s. Of course, John William's guitars are a treat for everyone and all the musicians here are so skilled, but in this 20 minutes (or so) epic written by keyboardist Francis Monkman there's more. First of all, an awesome collection of good musical themes, a well found series of mood changes and a polished, brilliant sound.

As Sky was their name... 

The somewhat esoteric inspiration the song title implies perfeclty fits in the light, measured and nonetheless surprising plot of this track. We breathe the end of the prog era and the beginning of the lighter '80s scene through the classical hints and the electric, dynamic, even essential rythmic carpet of the suite. All in all, this is a highly enjoyable piece of music I'm glad to add to my blog.

Spoon (Can, 1972)

 Can are one of the most important bands coming from the manifold early '70s German rock scene, something we label today as krautrock, even if don't like this word. Can were a highly experimental band, dealing with psychedelic loops, electronic sounds and jazz contamination. This song is one of their most accessible compositions and it played a special role in the band's history. Being a German top 10, also because it became the opening theme of a German TV show, it allowed Can to improve the production of their new album "Ege Bamyasi", in which Spoon was included, and to launch their career.

Ege Bamyasi means "Aegean Okra" in Turkish. 

Despite its short duration time and its rather plain structure, this track features many of Can's signature traits: creative percussions, repetitive riffs, ethnic passages and acid vocal harmonies. The whole outcome is an addicting, spicy, psychedelic song, where many different influences contribute to a unique, surprising musical blend. It surely take the listener back to the '70s, but it also sounds perfectly modern.